Question: When did the painter Van Gogh enter the Saint-Remy asylum?
About the article "The Starry Night", section "Genesis".

Candidate passages:
Van Gogh's family in his art is a group of works that Vincent van Gogh made for or about Van Gogh family members.
In 1881 Van Gogh drew a portrait of his grandfather, Vincent van Gogh, and his sister Wil.
While living in Nuenen, Van Gogh memorialized his father in "Still Life with Bible" following his death in 1885.
There he also made many paintings and drawings in 1884 and 1885 of his parent's vicarage, its garden and the church.
At the height of his career in Arles he made "Portrait of the Artist's Mother", "Memory of the Garden at Etten" of his mother and sister and "Novel Reader", which is thought to be of his sister, Wil.
While Van Gogh was at the Saint-Paul Asylum, Saint-Remy, he made several paintings as gifts for his mother and sister, and the painting "Almond Blossoms" for his brother Theo and his wife Johanna to celebrate the birth of their son whom they named Vincent.
Although Vincent experienced some strife with his family, when he became an accomplished artist and made paintings his family members liked, he shared his love for them through his art. 
During the winter months at Saint-Remy Van Gogh had a shortage of subjects for his work.
Residing at Saint-Paul asylum, he did not have the freedom he enjoyed in the past, the weather was too cold to work outdoors and he did not have access to models for paintings.
Van Gogh took up copying some of his favorite works of others, which became the primary source of his work during the winter months.
"The Pietà (after Delacroix)" marks the start of a series of paintings that Van Gogh made after artists such as Jean-François Millet, Honoré Daumier and Rembrandt.
Millet's work, who greatly influenced Van Gogh, figures prominently in this series.
He wrote to Theo about these copies: "I started making them inadvertently and now find that I can learn from them and that they give me a kind of comfort.
My brush then moves through my fingers like a bow over the strings of a violin – completely for my pleasure.
"Several religious works, such as "The Pietà," were included in the series, notable exceptions in his oeuvre.
Saint-Paul asylum, housed in an old monastery, may have provided some of the inspiration for the specific subject.
The nuns devoutness sometimes annoyed him, but he did find solace in religion.
He wrote: "I am not indifferent, and pious thoughts often console me in my suffering.
"Van Gogh Museum asserts that Van Gogh may have identified with Christ "who had also suffered and been misunderstood."
They also offer the conjecture of some scholars of a resemblance between the Van Gogh and the red-bearded Christ in "The Pietà" and Lazarus in the copy after Rembrandt.
However it is unknown whether or not this was Van Gogh's intention. 
Mont Gaussier, the dominant hill of the Alpilles range, can be seen from the streets of Saint-Remy.
Van Gogh generally saw the Alpilles from his room or the grounds of Saint-Paul hospital.
In Van Gogh's "Le Mont Gaussier with the Mas de Saint-Paul" the Alpilles are painted in yellow, green and purple.
Left of Mont Gaussier is the "Montagne des Deux Trous".
In van Gogh's painting of this hill its dark holes are visible about the "undulating olive trees."
When Gauguin agreed to visit Arles, Van Gogh hoped for friendship and for his utopian idea of a collective of artists.
In anticipation that August he painted sunflowers.
When Boch visited again, Van Gogh painted a portrait of him, as well as the study "The Poet Against a Starry Sky."
Boch's sister Anna (1848–1936), also an artist, purchased "The Red Vineyard" in 1890.
In preparation for Gauguin's visit he bought two beds, on advice from his friend the station's postal supervisor Joseph Roulin, whose portrait he painted, and on 17 September spent the first night in the still sparsely furnished Yellow House.
When Gauguin consented to work and live side-by-side in Arles with Van Gogh, he started to work on "The Décoration for the Yellow House," probably the most ambitious effort he ever undertook.
Van Gogh did two chair paintings: "Van Gogh's Chair" and "Gauguin's Chair.
"After repeated requests, Gauguin finally arrived in Arles on 23 October.
During November, the two painted together.
Gauguin painted Van Gogh's portrait "The Painter of Sunflowers: Portrait of Vincent van Gogh," and uncharacteristically, Van Gogh painted some pictures from memory – deferring to Gauguin's ideas in this – as well as his "The Red Vineyard".
Notable amongst these "imaginative" paintings is " Memory of the Garden at Etten".
Their first joint outdoor painting exercise produced "Les Alyscamps", and was conducted at the Alyscamps.
The two visited Montpellier that December and viewed works in the Alfred Bruyas collection by Courbet and Delacroix in the Musée Fabre, but their relationship began to deteriorate.
Van Gogh greatly admired Gauguin, and desperately wanted to be treated as his equal.
But Gauguin was arrogant and domineering, a fact that often frustrated Van Gogh.
They quarreled fiercely about art; Van Gogh felt an increasing fear that Gauguin was going to desert him, as a situation he described as one of "excessive tension" reached crisis point.
The precise chain of events that led to the celebrated incident of van Gogh slicing off his ear is not known reliably in detail.
The only account attesting a supposed earlier razor attack on Gauguin comes from Gauguin himself some fifteen years later and biographers agree this account must be considered unreliable and self-serving.
It does seem likely, however, that by 23 December 1888 van Gogh had realized that Gauguin was proposing to leave and that there had been some kind of contretemps between the two.
That evening van Gogh severed his left ear (wholly or in part, accounts differ) with a razor, inducing a severe haemorrhage.
He bandaged his wound and then wrapped the ear in paper and delivered the package to a brothel frequented by both him and Gauguin before returning home and collapsing.
He was found unconscious the next day by the police and taken to hospital.
The local newspaper reported that van Gogh had given the ear to a prostitute with an instruction to guard it carefully.
In Gauguin's later account he implies that in fact van Gogh had left it with the doorman as a memento for Gauguin.
Van Gogh himself had no recollection of these events and it is plain that he had suffered an acute psychotic episode.
Family letters of the time make it clear that the event had not been unexpected.
He had suffered a nervous collapse in Antwerp some three years before and as early as 1880 his father had proposed committing him to an asylum (at Gheel).
The hospital diagnosis was "generalized delirium", and within a few days van Gogh was sectioned.
During the initial few days of his treatment van Gogh repeatedly asked for Gauguin, but Gauguin stayed away.
Gauguin told one of the policeman attending the case, "Be kind enough, Monsieur, to awaken this man with great care, and if he asks for me tell him I have left for Paris; the sight of me might prove fatal for him."
Gauguin wrote of Van Gogh, "His state is worse, he wants to sleep with the patients, chase the nurses, and washes himself in the coal bucket.
That is to say, he continues the biblical mortifications."
Theo – notified by Gauguin – visited, as did both Madame Ginoux and Roulin.
Gauguin left Arles and never saw Van Gogh again.
Despite the gloomy initial disgnosis, van Gogh made a surprisingly speedy recovery.
He returned to the Yellow House by the beginning of January, but was to spend the following month between the hospital and home, suffering from hallucinations and delusions that he was being poisoned.
In March, the police closed his house after a petition by 30 townspeople (including the Ginoux family), who called him "fou roux" ("the redheaded madman").
Paul Signac visited him in the hospital and Van Gogh was allowed home in his company.
In April, he moved into rooms owned by his hospital physician Dr. Rey after floods damaged paintings in his own home.
Around this time, he wrote, "Sometimes moods of indescribable anguish, sometimes moments when the veil of time and fatality of circumstances seemed to be torn apart for an instant."
Two months later he left Arles and entered an asylum (at his own request) in Saint-Rémy-de-Provence. 
Copies by Vincent van Gogh, form an important group of paintings executed by Vincent van Gogh between 1887 and early 1890.
While at Saint-Paul asylum in Saint-Rémy-de-Provence, France where Van Gogh admitted himself, he strived to have subjects during the cold winter months.
Seeking to be reinvigorated artistically, Van Gogh did more than 30 copies of works by some of his favorite artists.
About twenty-one of the works were copies after, or inspired by Jean-François Millet.
Rather than replicate, Van Gogh sought to translate the subjects and composition through his perspective, color, and technique.
Spiritual meaning and emotional comfort were expressed through symbolism and color.
His brother Theo van Gogh (art dealer) would call the pieces in the series some of his best work.