Question: Who did Van Gogh admit that he didn't have children to?
About the article "Vincent van Gogh", section "Influence".

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. 
Van Gogh made "Pair of Shoes" (F255) from a pair of boots he purchased at a flea market.
He wore the boots on an extended rainy walk to create the effect he wished for this painting, which may have been a tribute to the working man.
The Van Gogh Museum speculates that they may also be symbolic for Van Gogh of his "difficult passage through life."
Of his walking through mud to make the shoes look more worn and dirty, Van Gogh was known to say "Dirty shoes and roses can both be good in the same way.
"Van Gogh's friend and fellow artist, John Peter Russell, received Van Gogh's "Three Pairs of Shoes" (F332) in 1886.
Russell had painted a portrait of Van Gogh that he dearly loved.
In exchange for the portrait he had given Van Gogh, Russell selected "Three Pairs of Shoes" and a lithograph copy of "Worn Out (Eternity's Gate)" (F997) that Van Gogh made in 1882.
Russell selected these works at a time when Van Gogh had begun to make more colorful work.
Russell's selections indicate that he understood who Van Gogh was and the messages about the peasant or working man that he wished to convey through his work. 
In his final letter to Theo, Van Gogh admitted that as he did not have any children, he viewed his paintings as his progeny.
Reflecting on this, the historian Simon Schama concluded that he "did have a child of course, Expressionism, and many, many heirs."
Schama mentioned many artists who have adapted elements of Van Gogh's style, including Willem de Kooning, Howard Hodgkin and Jackson Pollock.
The Fauves extended both his use of color and freedom in application, as did German Expressionists of the Die Brücke group, and as other early modernists.
Abstract Expressionism of the 1940s and 1950s is seen as in part inspired from Van Gogh's broad, gestural brush strokes.
In the words of art critic Sue Hubbard: "At the beginning of the twentieth century Van Gogh gave the Expressionists a new painterly language that enabled them to go beyond surface appearance and penetrate deeper essential truths.
It is no coincidence that at this very moment Freud was also mining the depths of that essentially modern domain – the subconscious.
This beautiful and intelligent exhibition places Van Gogh where he firmly belongs; as the trailblazer of modern art.
"In 1957, Francis Bacon (1909–1992) based a series of paintings on reproductions of Van Gogh's "The Painter on the Road to Tarascon", the original of which was destroyed during World War II.
Bacon was inspired by not only an image he described as "haunting", but also Van Gogh himself, whom Bacon regarded as an alienated outsider, a position which resonated with Bacon.
The Irish artist further identified with Van Gogh's theories of art and quoted lines written in a letter to Theo, "painters do not paint things as they are...
They paint them as "they themselves" feel them to be."
An exhibition devoted to Vincent van Gogh's letters took place in the Van Gogh Museum in Amsterdam from October 2009 to January 2010 and then moved to the Royal Academy in London from late January to April.
The Van Gogh Museum hosted an exhibition "Van Gogh at Work" featuring 200 paintings and drawings, 150 of them by van Gogh and others including Paul Gauguin and Émile Bernard; from May 1, 2013 until January 12, 2014. 
Van Gogh painted the family of postman Joseph Roulin in the winter of 1888, every member more than once.
The family included Joseph Roulin, the postman; his wife, Augustine; and their three children.
Van Gogh described the family as "really French, even if they look like Russians."
Over the course of just a few weeks, he painted Augustine and the children several times.
The reason for multiple works was partly so that the Roulins could have a painting of each family member, so that with these pictures and others, their bedroom became a virtual "museum of modern art."
The family's consent to modeling for van Gogh also gave him the opportunity to create more portraits, which was both meaningful and inspirational to van Gogh.
Van Gogh used color for dramatic effect.
Each family member's clothes are done in bold primary colors and van Gogh used contrasting colors in the background to intensify the impact of the work. 
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.