Nevertheless, these nuggets of fairly convincing evidence disproving the validity of the Yasuda Sunflowers are challenged by opposing opinions of other renowned critics who capitalize on this lack of extensive research. One compelling piece of evidence supporting this side of the argument is the explained rationale behind van Gogh’s choice of jute sacking as his medium. During their collaborative efforts in Arles, van Gogh and Gauguin decided to experiment painting on jute sacking, as reported by Derwent May, so the two artists purchased a hefty supply of the coarse material (May, 21). As a result, numerous critics unapprised to this fact were puzzled by van Gogh’s sudden change from traditional French canvas to the lesser-quality jute sacking, thereby precipitating their conclusion that the Yasuda copy was in fact a forgery. However, this claim is false. As observed, the fact that van Gogh was the one responsible for choosing jute sacking helps to sustain the validity of the Yasuda copy. These art authorities who support the authenticity of the Yasuda Sunflowers, base their claims on observed, particular artistic trends (Ryback). Together with the outspoken opponents of the work’s legitimacy, they illustrate the ongoing vivacious debate that exists among those in the art community regarding such a divisive painting – a debate that in due course leads us to realizing more aspects of van Gogh’s artistic style and consequently developing a greater appreciation for his Sunflowers painting.