Question: Name a written source that is suggested to have inspired van Gogh in this work?
About the article "The Starry Night", section "Interpretations".

Candidate passages:
In 1886 van Gogh left Holland for Paris and the guidance of his brother Theo van Gogh.
While van Gogh had been influenced by great masters in Holland, coming to Paris meant that he would have the opportunity to be influenced by Impressionists, Symbolists, Pointillists, and Japanese art.
His circle of friends included Émile Bernard, Paul Gauguin, Camille Pissarro, Henri de Toulouse-Lautrec, and others.
Montmartre, sitting on a butte overlooking Paris, was known for its bars, cafes, and dance-hall.
It was also located on the edge of countryside that afforded van Gogh the opportunity to work on paintings of rural settings while living in Paris.
The landscape and windmills around Montmartre were the source of inspiration for a number of van Gogh's paintings.
Moulin de la Galette, still standing, is located near the apartment that van Gogh shared with his brother Theo from 1886 until 1888.
Built in 1622, it was originally called Blute-Fin and belonged to the Debray family in the 19th century.
Van Gogh met artists such as Toulouse-Lautrec, Paul Signac and Paul Gauguin who inspired him to incorporate Impressionism into his artwork that, among other things, resulted in lighter, more colorful works of art.
"Moulin de la Galette" was also the name of an outdoor dance hall that was located between two of the last windmills on a Montmartre hilltop.
In addition to van Gogh, Toulouse-Lautrec and Pierre-Auguste Renoir also painted Moulin de la Galette.
Renoir's painting of the dance hall is titled "Bal du moulin de la Galette". 
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. 
Émile Bernard, an artist and Catholic mystic, was a close personal friend to Van Gogh.
Bernard influenced Van Gogh artistically several ways.
Bernard outlined figures in black, replicating the look of religious woodcut images of the Middle Ages.
This resulted in a flattened, more primitive work.
Van Gogh's "Crows over the Wheatfield" is one example of how Bernard's simplified form influenced his work.
Bernard also taught Van Gogh about how to manipulate perspective in his work.
Just as Van Gogh used color to express emotion, he used distortion of perspective as a means of artistic expression and a vehicle to "modernize" his work.
As a demonstration of the sharing of artistic viewpoints, Van Gogh painted a copy in watercolor of a sketch made by Bernard of Breton woman.
Van Gogh wrote to Bernard of a utopian ideal where artists worked cooperatively, focused on a common idea, to reach heights artistically "beyond the power of the isolated individual."
As a means of clarification, he stated that did not mean that several painters would work on the same picture, but they will each create a work that "nonetheless belong together and complement each other."
The "Breton Women" is one of many examples of how Van Gogh and one of his friend's brought their unique temperaments and skills to a single idea.
Van Gogh wrote to Bernard his trade of the "Breton Women" to Paul Gauguin: "Let me make it perfectly clear that I was looking forward to seeing the sort of things that are in that painting of yours which Gauguin has, those Breton women walking in a meadow so beautifully composed, the colour with such naive distinction."
Gauguin made a work, Breton Women at a Pardon which was may have been inspired by Bernard's work of Breton women. 
This is a list that shows references made in culture to the life and work of artist Vincent van Gogh (1853–1890).  
In the 1990s, the painting was shown to staff at the Van Gogh Museum, but it was dismissed as not the work of van Gogh because it was not signed.
With the development of improved investigative techniques, however, in 2011 a two-year investigation was launched by the Van Gogh Museum to examine the possible authenticity of the painting.
The painting was subjected to a detailed investigation of style and materials.
It was discovered to have been painted in the same range of paints that appears in works by van Gogh at that period, which led to further research.
Among the evidence that confirmed the painting's authenticity was a letter written by Vincent van Gogh to his brother Theo on 5 July 1888, describing a landscape that he had painted the previous day: On 9 September 2013, the Van Gogh Museum announced in a public unveiling of the painting, that the work had been confirmed as a painting by van Gogh.