Question: Who gave van Gogh his first set of art supplies?
About the article "Sien (Van Gogh series)", section "Reaction to his relationship with Sien".

Candidate passages:
Due to his relationship with Sien, van Gogh experienced the loss of support and goodwill from family and friends, and he experienced an even more strained relationship with his parents.
His teacher and cousin-in-law, Anton Mauve, abruptly ceased his support and tutelage of van Gogh within a few short weeks of van Gogh first meeting Sien, although there were other factors involved as well, not least their mutual melancholy.
Hulsker called this a simple tragedy for van Gogh.
Likewise, a long-standing family friend, Hermanus Tersteeg, an influential art dealer who taught van Gogh and his brother Theo a great deal about art and literature, and who gave van Gogh his first set of art supplies when he decided to become an artist, although he was always somewhat equivocal in his support, abruptly withdrew at the same time.
Van Gogh's relationship with Mauve in truth had scarcely lasted a month.
Already by the end of January, van Gogh was writing his brother Theo that he did not always find it easy to get on with Mauve.
Shortly after this, they fell out with each other over an issue involving drawing from plaster casts, which Mauve was anxious van Gogh should undertake to perfect his technique.
Van Gogh, however, vehemently insisted on drawing from models, and in a fit of pique destroyed some plaster casts of hands and feet that Mauve had given him to make studies from.
Following that incident, Mauve said he would have nothing more to do with him for the next two months (i.e.
for the rest of the winter).
In reality, Mauve, had resolved to break with van Gogh completely.
Van Gogh initially blamed Tersteeg for Mauve's indifference, but a chance meeting with Mauve in May made it clear to him that Mauve had definitively broken with him.
He described the meeting in a letter to Theo, and in the same letter he revealed his relationship with Sien for the first time and passionately defended it:Van Gogh left Sien the autumn of 1883.
Van Gogh went to Drenthe to paint and Sien went back to work as a seamstress, charwoman and possibly as a prostitute.
Her children, Maria and Willem, lived with Sien's mother and brother Pieter.
In 1901 Sien married a seaman, Anton van Wijk.
She committed suicide in 1904 at the age of 54 in Rotterdam's harbor, 14 years after van Gogh's death.
In 1880 when he was 27 years-old, Van Gogh decided to become an artist.
In October of that year he moved to Brussels and began a beginner's course of study.
Van Gogh returned to Etten in April 1881 to live with his parents and studied art on his own.
His younger brother Theo, an art dealer at the main branch of Goupil & Cie, encouraged him and started covering Van Gogh's expenses.
Van Gogh used images from illustrated magazines to teach himself how to draw.
Charles Bargue, a French artist, wrote two books on drawing that were a significant source of study for Van Gogh.
Both written in 1871, one is "Cours de dessin" and the other "Exercises au fusain pour préparer à l’étude de l’académie d’après nature," Van Gogh created copies of the drawings or adapted nude images for clothed depictions.
In January 1882, he settled in The Hague where he called on his cousin-in-law, the painter Anton Mauve (1838–88).
Mauve introduced him to painting in both oil and watercolor and lent him money to set up a studio.
Van Gogh began drawing people from the working poor, including the prostitute Clasina Maria "Sien" Hoornik (1850–1904, with whom he would become involved.
Van Gogh dreamed his studio would one day become a form of respite for the poor where they could receive food, shelter and money for posing.
His work was not well received; Mauve and H.G.
Tersteeg, manager of Goupil & Cie, considered the drawings coarse and lacking charm.
Van Gogh likened the subjects "unrefined" characteristics of his drawings to harsh "yellow soap" made of lye.
Van Gogh's relationship with Sien changed as they lived together with Maria, her five-year-old daughter, to the great disappointment of his family.
Mauve appears to have suddenly gone cold towards Van Gogh and did not return a number of his letters, Van Gogh supposed that Mauve did not approve of his domestic arrangement with Sien and her young daughter.
Van Gogh created a number of drawings of Sien and her daughter.
Having ended his relationship with Sien, Van Gogh moved to Drenthe in September 1883 and painted landscapes.
Three months later, he moved back in with his parents, who were at that point living in Nuenen.
In 1884, Van Gogh created the weaver series, works of rural life and landscapes.
For a brief period of time, he gave painting lessons in Eindhoven.
Near the end of the year, Van Gogh began experimenting with complementary colors, influenced by the color theories of Charles Blanc.
Vincent made many studies of peasants in 1885, culminating in his first major painting, "The Potato Eaters."
In his works, Van Gogh used particularly somber colors and colors mixed with black, which he felt was like that of 17th-century masters, such as Frans Hals.
His brother, Theo van Gogh (art dealer) had asked him often to lighten up his work, referring to the work of the Impressionists.
Once Van Gogh went to Paris, he did open up his palette to color and light and admitted that his works from this period were old-fashioned.
Theodorus van Gogh, Vincent's father, died March 26, 1885.
In November, Vincent moved to Antwerp. 
Probably it is little more than for curiosity that one of the first mentions of Van Gogh in newspapers was printed in Arles.
September 30, 1888, "L'Homme de Bronze" told its readers ""Mr. Vincent, impressionist painter, works in the night, as we are assured, in the glow of the gas lanterns on one of our public places.""
Earlier this year, Van Gogh's contribution to the exhibition of the Artists Indépendants has been reviewed.
Notes on Van Gogh's exhibits were again published in 1889, amongst them a review by the Dutch painter Joseph Jacob Isaacson, a friend of Meyer de Haan and Theo van Gogh, printed in the 17 August 1889 issue of the Amsterdam weekly "De Portefeuille."
Vincent felt more troubled than honoured, and asked Isaacson to stop writing about him.
But there was no chance to turn the wheel back: January 1890 - in the first issue refounding the "Mercure de France" - Albert Aurier published his enthusiastic essay 'Les Isolés: Vincent van Gogh', on which Vincent's fame as an artist is based as well as Aurier's as a leading art critic.
Another voice was that of Octave Mirbeau whose review article 'Vincent van Gogh' in "L'Echo de Paris" on 1 March 1891.
Later that year Van Gogh's friend Émile Bernard contributed short pieces on Van Gogh for "La Plume" and "Les Hommes d’aujourd’hui.
"Julius Meier-Graefe wrote influentially of Van Gogh, his publications including: "Entwicklungsgeschichte der modernen Kunst" (Stuttgart, 1904 and later Munich 1927), "Über Vincent van Gogh", Sozialistische Monatshefte (February 1906), "Vincent van Gogh" (Munich 1912), and "Van Gogh der Zeichner" (Berlin, 1928, published by Otto Wacker).
In the English-speaking world, the Bloomsbury art critics Roger Fry and Clive Bell were his first champions.
Fry, in a 1924 essay, "Vincent van Gogh," reported that after Van Gogh's death, he "disappeared" and "scarcely any picture dealer in Bond Street gave him another thought" until the 1910 show titled "Post Impressionist Exhibition" in which "his works dazzled, astonished and infuriated all cultured England."
Fry's essay canonized Van Gogh as "a saint" of art, "the victim of the terrible intensity of his convictions—his conviction that somewhere one might lay hold of spiritual values compared with which all other values were of no account."
His works gave "an expression in paint for the desperate violence of his spiritual hunger...".
That set the agenda for many subsequent Van Gogh studies, which are predominantly biographical to this day.
Van Gogh fits modern culture's attempt to find secular substitutes for a religion it no longer believed in, as M.H.
Abrams describes in "Natural Supernaturalism" (1970). 
Theodorus "Theo" van Gogh was born on 1 May 1857 in the village Groot-Zundert in the province of North Brabant, Netherlands.
He was the son of Theodorus van Gogh and Anna Cornelia Carbentus.
His elder brother was Vincent van Gogh (1853–1890), who later became a famous painter. 
Vincent van Gogh's grandfather (born 1789) was also named Vincent van Gogh.
According to Vincent van Gogh's first biographer, his sister-in-law Johanna van Gogh, the grandfather was a pastor, and the son of Johanna van der Vin of Malines and Johannes van Gogh.
Johanna van Gogh writes that Johannes "was at first a gold-wire drawer like his father, but he later became a Bible teacher and a clerk in the Cloister Church at The Hague."
She describes him as an intellectual, duty-bound man who was awarded prizes and testimonials for his distinguished work.
A family legacy, from Vincent's great-uncle—a sculptor and a lifelong bachelor—allowed Vincent van Gogh (Johannes' son) to study divinity at the University of Leiden.
After successfully completing his studies and having become established at the parsonage of Benschop, Vincent van Gogh married E. H. Vrydag in 1810.
They remained married until Elisabeth's death on 7 March 1857; the Reverend Vincent van Gogh lived until 1874.
In July, 1881 Van Gogh made "Portrait of Artist's Grandfather" (F876).
The work was drawn in pencil and brown ink.
Then he used opaque white watercolor and a brown wash.
The drawing is owned by the Van Gogh Museum in Amsterdam.