Question: What location did Van Gogh and George Hendrick sketch at?
About the article "Sien (Van Gogh series)", section "Public soup kitchen".

Candidate passages:
[[File:George Hendrik Breitner - Distribution of Soup.jpg|thumb|left|200 px|alt= A watercolor of a group of people standing in front of a courtyard.
Some are carrying pots.|George Hendrik Breitner - "Distribution of Soup", watercolor, 1882, Stedelijk Museum, Amsterdam.
In the early months of 1882, Breitner came into contact with Vincent van Gogh.
Van Gogh appears to have been introduced to him by his brother Theo, and the pair sketched together in the working-class districts of The Hague.
Breitner was motivated to do so because he regarded himself as a painter of the common folk.
Van Gogh, initially at any rate, was more intent on recruiting models.
It is likely that Breitner introduced van Gogh to the novels of Émile Zola and the cause of social realism.
Breitner was hospitalised in April.
Van Gogh visited him in hospital, but Breitner did not return the visits when van Gogh himself was hospitalised two months later, and they did not meet again until the following July when van Gogh was on the verge of leaving The Hague and Breitner spending more time in Rotterdam than the Hague.
At that time van Gogh gave Theo a less than flattering account of Breitner's paintings as resembling mouldy wallpaper, although he did say he thought he would be all right in the end.
For his part, there is no evidence that Breitner saw anything notable in van Gogh's work.
He later reminisced that sketching with van Gogh was problematic because, whereas Breitner sketched discreetly in a notebook, van Gogh came laden with apparatus and attracted hostile attention.
Two years after van Gogh's death, Breitner wrote that he did not like van Gogh's paintings:"‘I can’t help it, but to me it seems like art for Eskimos, I cannot enjoy it.
I honestly find it coarse and distasteful, without any distinction, and what’s more, he has stolen it all from Millet and others."
The Potato Eaters () is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.
It is in the Van Gogh Museum in Amsterdam.
The version at the Kröller-Müller Museum in Otterlo is a preliminary oil sketch, and he also made a version as a lithograph.
In 1885 van Gogh made several versions of "The Potato Eaters". 
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. 
Bernard spent September 1887 at the coast, where he painted "La Grandmère", a portrait of his grandmother.
He continued talking with other painters and started saying good things about Gauguin.
Bernard went back to Paris, met with van Gogh, who as we already stated was impressed by his work, found a restaurant to show the work alongside van Gogh, Anquetin, and Toulouse-Lautrec's work at the Avenue Clichy.
Van Gogh called the group the School of Petit-Boulevard.
One year later, Bernard set out for Pont-Aven by foot and saw Gauguin.
Their friendship and artistic relationship grew strong quickly.
By this time Bernard had developed many theories about his artwork and what he wanted it to be.
He stated that he had "a desire to an art that would be of the most extreme simplicity and that would be accessible to all, so as not to practice its individuality, but collectively…" Gauguin was impressed by Bernard's ability to verbalize his ideas.1888 was a seminal year in the history of Modern art.
From October 23, until December 23 Paul Gauguin and Vincent van Gogh worked together in Arles.
Gauguin had brought his new style from Pont-Aven exemplified in "Vision of the Sermon", a powerful work of visual symbolism of which he had already sent a sketch to van Gogh in September.
He also brought along Bernard's "Le Pardon de Pont-Aven" which he had exchanged for one of his paintings and which he used to decorate the shared workshop.see in: (ref.
Druick 2001) This work was equally striking and illustrative of the style Émile Bernard had already acquainted van Gogh with when he sent him a batch of drawings in August, so much so that van Gogh made a watercolor copy of the ""Pardon"" (December 1888) which he sent to his brother, to recommend Bernard's new style to be promoted.
The following year van Gogh still vividly remembered the painting in his written portrait of Émile Bernard in a letter to his sister Wil (Dec.10,1889):"..."it was so original I absolutely wanted to have a copy.
""Bernard's style was effective and coherent (see:woman at haystacks,) as can also be seen from the comparison of the two "portraits" Bernard and Gauguin sent to van Gogh at the end of September 1888 at the latter's request: self-portraits -at Gauguin's initiative- each integrating a small portrait of the other in the background.
(ref.
Druick 2001)One of Émile Bernard's drawings from the August batch ("..."a lane of trees near the sea with two women talking in the foreground and some strollers"" – Vincent van Gogh in a letter to Bernard – Arles 1888) also appears to have inspired the work van Gogh and Gauguin did on the Allée des Alyscamps in Arles.
In 1891 he joined a group of Symbolist painters that included Odilon Redon and Ferdinand Hodler.
In 1893 he started traveling, to Egypt, Spain and Italy and after that his style became more eclectic.
He returned to Paris in 1904 and remained there for the remainder of his life.
He taught at the École des Beaux-Arts before he died in 1941. :""[…] this creative, avant-garde young man destroyed himself in a fight against that same avant-garde he had helped to create.
His rivalry with Gauguin led him out of spite along a different path: classicism.
This change took place when he was living in the Middle East, in a period of great crisis.
But the fact remains that the young Bernard played an essential part as an initiator for Gauguin, and that he was the inventor of a new artistic vision.""
Van Gogh wrote to his brother, Theo of the view outside his room in Nieuw-Amsterdam, Drenthe: "I now have a reasonably large room where a stove has been placed, where there happens to be a small balcony.
From which I can even see the heath with the huts.
I also look out on a very curious drawbridge."
Within the letter he drew a sketch of the bridge, which became the watercolor, "Drawbridge in Nieuw-Amsterdam".
The work was one of 148 watercolors made by Van Gogh, who said of working in that medium in 1881:What a splendid thing watercolour is to express atmosphere and distance,<br> so that the figure is surrounded by air and can breathe in it, as it were.
Five years after having made this work, van Gogh made "Langlois Bridge at Arles" in France which captures a lighter mood.