Vincent Willem van Gogh (30 March 1853 – 29 July 1890) was a Dutch
Post-Impressionist artist.[1] His paintings and drawings include some of the
world's best known, most popular and most expensive pieces.
Van Gogh spent his early adult life working for a firm of art dealers. After a
brief spell as a teacher, he became a missionary worker in a very poor mining
region. He did not embark upon a career as an artist until 1880. Initially, van
Gogh worked only with sombre colours, until he encountered Impressionism and
Neo-Impressionism in Paris. He incorporated their brighter colours and style of
painting into a uniquely recognizable style, which was fully developed during
the time he spent at Arles, France. He produced more than 2,000 works, including
around 900 paintings and 1,100 drawings and sketches, during the last ten years
of his life. Most of his best-known works were produced in the final two years
of his life, during which time he cut off part of his left ear following a
breakdown in his friendship with Paul Gauguin. After this he suffered recurrent
bouts of mental illness, which led to his suicide.
The central figure in Van Gogh's life was his brother Theo, who continually and
selflessly provided financial support. Their lifelong friendship is documented
in numerous letters they exchanged from August 1872 onwards. Van Gogh is a
pioneer of what came to be known as Expressionism. He had an enormous influence
on 20th century art, especially on the Fauves and German Expressionists.
Biography
Vincent Willem van Gogh was born in Groot-Zundert, a village close to Breda in
the Province of North Brabant in the southern Netherlands.[2] Van Gogh was the
son of Anna Cornelia Carbentus and Theodorus van Gogh, who was a minister of the
Dutch Reformed Church. He was given the same name as his grandfather—and a first
brother stillborn exactly one year before. It has been suggested[3] that being
given the same name as his dead elder brother might have had a deep
psychological impact on the young artist, and that elements of his art, such as
the portrayal of pairs of male figures, can be traced back to this. The practice
of reusing a name in this way was not uncommon. The name "Vincent" was often
used in the Van Gogh family: the baby's grandfather was called Vincent van Gogh
(1789-1874); he had received his degree of theology at the University of Leiden
in 1811. Grandfather Vincent had six sons, three of whom became art dealers,
including another Vincent, referred to in Van Gogh's letters as "Uncle Cent."
Grandfather Vincent had perhaps been named after his own father's uncle, the
successful sculptor Vincent van Gogh (1729-1802). Art and religion were the two
occupations to which the Van Gogh family gravitated.
Four years after Van Gogh was born, his brother Theodorus (Theo) was born on 1
May 1857. There was also another brother named Cor and three sisters, Elisabeth,
Anna and Wil. As a child, Van Gogh was serious, silent and thoughtful. In 1860
he attended the Zundert village school, where the only teacher was Catholic and
there were around 200 pupils. From 1861 he and his sister Anna were taught at
home by a governess, until 1 October 1864, when he went away to the elementary
boarding school of Jan Provily in Zevenbergen, the Netherlands, about 20 miles
(32 km) away. He was distressed to leave his family home, and recalled this even
in adulthood. On 15 September 1866, he went to the new middle school, Willem II
College in Tilburg, the Netherlands. Constantijn C. Huysmans, who had achieved a
certain success himself in Paris, taught Van Gogh to draw at the school and
advocated a systematic approach to the subject. In March 1868 Van Gogh abruptly
left school and returned home. His comment on his early years was: "My youth was
gloomy and cold and sterile...."
In July 1869, at the age of fifteen, he obtained a position with the art dealer
Goupil & Cie in The Hague through his Uncle Vincent ("Cent"), who had built up a
good business which became a branch of the firm. After his training, Goupil
transferred him to London in June 1873, where he lodged at 87 Hackford Road,
Brixton and worked at Messrs. Goupil & Co., 17 Southampton Street.
This was a happy time for Van Gogh: he was successful at work, and was already,
at the age of 20, earning more than his father. He fell in love with his
landlady's daughter, Eugénie Loyer, but when he finally confessed his
feeling to her, she rejected him, saying that she was already secretly engaged
to a previous lodger. Vincent became increasingly isolated and fervent about
religion. His father and uncle sent him to Paris, where he became resentful at
how art was treated as a commodity, and he manifested this to the customers. On
1 April 1876, it was agreed that his employment should be terminated.
His religious emotion grew to the point where he felt he had found his true
vocation in life, and he returned to England to do unpaid work, first as a
supply teacher in a small boarding school overlooking the harbour in Ramsgate;
he made some sketches of the view. The proprietor of the school relocated to
Isleworth, Middlesex. Vincent decided to walk to the new location. This new
position did not work out, and Vincent became a nearby Methodist minister's
assistant in wanting to "preach the gospel everywhere."
At Christmas that year he returned home, and then worked in a bookshop in
Dordrecht for six months, but he was not happy in this new position and spent
most of his time in the back of the shop either doodling, or translating
passages from the Bible into English, French, and German. His roommate
from this time, a young teacher called Görlitz, later recalled that Vincent ate
frugally, preferring to eat no meat. In an effort to support his wish to become
a pastor, his family sent him to Amsterdam in May 1877 where he lived with his
uncle Jan van Gogh, a rear admiral in the navy. Vincent prepared for
university, studying for the theology entrance exam with his uncle Johannes
Stricker, a respected theologian who published the first "Life of Jesus"
available in the Netherlands. Vincent failed at his studies and had to abandon
them. He left uncle Jan's house in July 1878. He then studied, but failed, a
three-month course at the Protestant missionary school (Vlaamsche
Opleidingsschool) in Laeken, near Brussels.
Borinage and Brussels (1879 – 1880)
The house where Van Gogh stayed in Cuesmes in 1880; it was while living here
that he decided to become an artist.In January 1879 Van Gogh got a temporary
post as a missionary in the village of Petit Wasmes[14] in the coal-mining
district of Borinage in Belgium, bringing his father's profession to people felt
to be the most wretched and hopeless in Europe. Taking Christianity to what he
saw as its logical conclusion, Vincent opted to live like those he preached to,
sharing their hardships to the extent of sleeping on straw in a small hut at the
back of the baker's house where he was billeted; the baker's wife used to hear
Vincent sobbing all night in the little hut. His choice of squalid living
conditions did not endear him to the appalled church authorities, who dismissed
him for "undermining the dignity of the priesthood." After this he walked to
Brussels, returned briefly to the Borinage, to the village of Cuesmes, but
acquiesced to pressure from his parents to come "home" to Etten. He stayed there
until around March the following year, to the increasing concern and frustration
of his parents. There was considerable conflict between Vincent and his father,
and his father made enquiries about having his son committed to a lunatic
asylum[19] at Geel. Vincent fled back to Cuesmes where he lodged with a miner
named Charles Decrucq, with whom he stayed until October. He became increasingly
interested in the everyday people and scenes around him, which he recorded in
drawings.
In 1880, Vincent followed the suggestion of his brother Theo and took up art in
earnest. In autumn 1880, he went to Brussels, intending to follow Theo's
recommendation to study with the prominent Dutch artist Willem Roelofs, who
persuaded Van Gogh (despite his aversion to formal schools of art) to attend the
Royal Academy of Art. There he not only studied anatomy, but the standard rules
of modeling and perspective, all of which, he said, "you have to know just to be
able to draw the least thing." Vincent wished to become an artist while in God's
service as he stated, "to try to understand the real significance of what the
great artists, the serious masters, tell us in their masterpieces, that leads to
God; one man wrote or told it in a book; another in a picture."
In April 1881, Van Gogh went to live in the countryside with his parents in
Etten and continued drawing, using neighbours as subjects. Through the summer he
spent much time walking and talking with his recently widowed cousin, Kee
Vos-Stricker, the daughter of his mother's older sister and Johannes Stricker,
who had shown real warmth towards his nephew.[23] Kee was seven years older than
Vincent, and had an eight-year-old son. Vincent proposed marriage, but she
flatly refused with the words: "No, never, never" (niet, nooit, nimmer). At the
end of November he wrote a strong letter to Uncle Stricker,[25] and then, very
soon after, hurried to Amsterdam where he talked with Stricker again on several
occasions,[26] but Kee refused to see him at all. Her parents told him "Your
persistence is disgusting". In desperation he held his left hand in the flame of
a lamp, saying, "Let me see her for as long as I can keep my hand in the flame."
He did not clearly recall what happened next, but assumed that his uncle blew
out the flame. Her father, "Uncle Stricker," as Vincent refers to him in letters
to Theo, made it clear that there was no question of Vincent and Kee marrying,
given Vincent's inability to support himself financially.[28] What he saw as the
hypocrisy of his uncle and former tutor affected Vincent deeply. At Christmas he
quarreled violently with his father, even refusing a gift of money, and
immediately left for The Hague.
In January 1882 he settled in The Hague, where he called on his cousin-in-law,
the painter Anton Mauve, who encouraged him towards painting. He soon fell out
with Mauve, however, perhaps over the issue of drawing from plaster casts; but
Mauve appeared suddenly to go cold towards Vincent, not returning a couple of
his letters. Vincent guessed that Mauve had learned of his new domestic
relationship with the alcoholic prostitute, Clasina Maria Hoornik (born February
1850, The Hague; she was known as Sien) and her young daughter. Van Gogh had met
Sien towards the end of January. Sien had a five year-old daughter, and
was pregnant. She had already had two other children who had died, although
Vincent was unaware of this. On 2 July, Sien gave birth to a baby boy,
Willem. When Vincent's father discovered the details of this relationship,
considerable pressure was put on Vincent to abandon Sien and her children.
Vincent was at first defiant in the face of his family's opposition.
Vincent van Gogh: View from his atelier in The Hague, watercolourHis uncle
Cornelis, an art dealer, commissioned 20 ink drawings of the city from him; they
were completed by the end of May. In June Vincent spent three weeks in a
hospital suffering gonorrhoea. In the summer, he began to paint in oil. In
autumn 1883, after a year with Sien, he abandoned her and the two children.
Vincent had thought of moving the family away from the city, but in the end he
made the break. It is possible that lack of money had pushed Sien back to
prostitution; the home had become a less happy one, and Vincent may have felt
family life was irreconcilable with his artistic development. When Vincent left,
Sien gave her daughter to her mother, and baby Willem to her brother, and moved
to Delft and then Antwerp. Willem remembered being taken to visit his mother in
Rotterdam at around the age of 12, where his uncle tried to persuade Sien to
marry in order to legitimize the child. Willem remembered his mother saying:
"But I know who the father is. He was an artist I lived with nearly 20 years ago
in The Hague. His name was Van Gogh." She then turned to Willem and said "You
are called after him." Willem believed himself to be Van Gogh's son, but the
timing of the birth makes this unlikely. In 1904 Sien drowned herself in
the river Scheldt.
Van Gogh moved to the Dutch province of Drenthe in the north of the Netherlands,
and in December, driven by loneliness, to stay with his parents who were by then
living in Nuenen, North Brabant, also in the Netherlands.
The Potato Eaters (1885)In Nuenen, he devoted himself to drawing—paying boys to
bring him birds' nests— and rapidly sketching the weavers in their cottages. In
autumn 1884, a neighbour's daughter, Margot Begemann, ten years older than
Vincent, accompanied him constantly on his painting forays and fell in love,
which he reciprocated (though less enthusiastically). They agreed to marry, but
were opposed by both families. Margot tried to kill herself with strychnine and
Vincent rushed her to the hospital.
On 26 March 1885, Van Gogh's father died of a stroke. Van Gogh grieved deeply.
For the first time there was interest from Paris in some of his work. In spring
he painted what is now considered his first major work, The Potato Eaters (Dutch
De Aardappeleters). In August his work was exhibited for the first time, in the
windows of a paint dealer, Leurs, in The Hague. In September he was accused of
making one of his young peasant sitters pregnant, and the Catholic village
priest forbade villagers from modelling for him.
During his time in Nuenen Van Gogh's palette was of sombre earth tones,
particularly dark brown, and he showed no sign of developing the vivid
colouration that distinguishes his later, best known work. (When Vincent
complained that Theo was not making enough effort to sell his paintings in
Paris, Theo replied that they were too dark and not in line with the current
style of bright Impressionist paintings.) During his two-year stay in Nuenen, he
completed numerous drawings and watercolours, and nearly 200 oil paintings.
Antwerpen (1885 – 1886)
Skull with a Burning Cigarette , oil on canvas, 1885.In November 1885 he moved
to Antwerpen and rented a little room above a paint dealer's shop in the Rue des
Images.[46] He had little money and ate poorly, preferring to spend what money
his brother Theo sent to him on painting materials and models. Bread, coffee,
and tobacco were his staple intake. In February 1886 he wrote to Theo saying
that he could only remember eating six hot meals since May of the previous year.
His teeth became loose and caused him much pain. While in Antwerpen he applied
himself to the study of colour theory and spent time looking at work in museums,
particularly the work of Peter Paul Rubens, gaining encouragement to broaden his
palette to carmine, cobalt and emerald green. He also bought some Japanese Ukiyo-e
woodcuts in the docklands, which he imitated and incorporated into the
background of some of his paintings. It was while he was living in Antwerpen
that Vincent began to drink absinthe heavily. He was treated by Dr Cavenaile
whose surgery was near the docklands, possibly for syphilis; the treatment of
alum irrigations and sitz baths was jotted down by Vincent in one of his
notebooks.
In January 1886 he matriculated at the Ecole des Beaux-Arts in Antwerpen,
studying painting and drawing. Despite disagreements over his rejection of
academic teaching, he nevertheless took the higher-level admission exams. For
most of February he was ill, run down by overwork and a poor diet (and excessive
smoking).
In March 1886 he moved to Paris to study at
Fernand Cormon's studio, and in May 1886 his mother and sister Wil moved to
Breda.The brothers first shared Theo's Rue Laval apartment on Montmartre. In
June they took a larger flat at 54 Rue Lepic, further uphill. As there was no
longer the need to communicate by letters, less is known about Van Gogh's time
in Paris than earlier or later periods of his life.
For some months Vincent worked at Cormon's studio where he frequented the circle
of the British-Australian artist John Peter Russell, and met fellow students
like Émile Bernard and Henri de Toulouse-Lautrec, who used to meet at the paint
store run by Julien "Père" Tanguy, which was at that time the only place to view
works by Paul Cézanne.
Vincent van Gogh, pastel drawing by Henri de Toulouse-Lautrec, 1887.It was not
difficult to see and study Impressionist works in Paris at this time. In 1886,
for example, two large vanguard exhibitions were staged, the 8th and final
exhibition of the Impressionists and an exhibition of the Artistes Indépendants.
In these shows Neo-Impressionism made its first appearance; works of Georges
Seurat and Paul Signac were the talk of the town. Though Theo, too, kept a stock
of Impressionist paintings in his gallery on Boulevard Montmarte, by artists
including Claude Monet, Alfred Sisley, Edgar Degas and Camille Pissarro, Vincent
evidently had problems acknowledging these recent ways to see and paint.
Conflicts arose, and at the turn of 1886 to 1887 Theo found shared life with
Vincent "almost unbearable," but in spring 1887 they made peace. Then Vincent
set out for a campaign in Asnières, where he became personally acquainted with
Paul Signac. Vincent and his friend Emile Bernard, who lived with parents in
Asnières, adopted elements of the "pointillé" (pointillism) style, where many
small dots are applied to the canvas, resulting in an optical blend of hues,
when seen from a distance. The theory behind this also stresses the value of
complementary colours (for example, blue and orange), which form vibrant
contrasts and enhance each other, when juxtaposed.
In November 1887, Theo and Vincent met and befriended Paul Gauguin, who had just
arrived in Paris. Towards the end of the year, Vincent arranged an exhibition of
paintings by himself, Bernard, Anquetin and (probably) Toulouse-Lautrec in the
Restaurant du Chalet, on Montmartre. There, Bernard and Anquetin sold their
first painting, and Vincent exchanged work with Gauguin, who soon departed to
Pont-Aven. But the discussions on art, artists and their social situation
started during this exhibition continued, and expanded to visitors of the show
like Pissarro and his son, Signac and Seurat. Finally in February 1888, when
Vincent felt worn out from life in Paris, he left the city, having painted over
200 paintings during his two years there. Only hours before his departure,
accompanied by Theo, he paid his first and only visit to Seurat in his atelier.
Van Gogh arrived on 21 February 1888, at the railroad station in Arles, crossed
Place Lamartine, entered the city through the Porte de la Cavalerie, and took
quarters a few steps further, at the Hôtel-Restaurant Carrel, 30 Rue Cavalerie.
He had ideas of founding a Utopian art colony. His companion for two months was
the Danish artist, Christian Mourier-Petersen. In March, he painted local
landscapes, using a gridded "perspective frame." Three of his pictures were
shown at the annual exhibition of the Société des Artistes Indépendants. In
April he was visited by the American painter, Dodge MacKnight, who was resident
in Fontvieille nearby.
The Café Terrace on the Place du Forum, Arles, at Night, September 1888.On 1 May
he signed a lease for 15 francs a month to rent the four rooms in the right hand
side of the "Yellow House" (so called because its outside walls were yellow) at
No. 2 Place Lamartine. The house was unfurnished and had been uninhabited for
some time so he was not able to move in straight away. He had been staying at
the Hôtel Restaurant Carrel in the Rue de la Cavalerie, just inside the medieval
gate to the city, with the old Roman Arena in view. The rate charged by the
hotel was 5 francs a week, which Van Gogh regarded as excessive. He disputed the
price, and took the case to the local arbitrator who awarded him a twelve franc
reduction on his total bill. On 7 May he moved out of the Hôtel Carrel, and
moved into the Café de la Gare. He became friends with the proprietors, Joseph
and Marie Ginoux. Although the Yellow House had to be furnished before he could
fully move in, Van Gogh was able to use it as a studio. His major project at
this time was a series of paintings intended to form the décoration for the
Yellow House.
In June he visited Saintes-Maries-de-la-Mer. He gave drawing lessons to a Zouave
second lieutenant, Paul-Eugène Milliet, who also became a companion. MacKnight
introduced him to Eugène Boch, a Belgian painter, who stayed at times in
Fontvieille (they exchanged visits in July). Gauguin agreed to join him in
Arles. In August he painted sunflowers; Boch visited again. On 8 September, upon
advice from his friend the station's postal supervisor Joseph Roulin, he bought
two beds, and he finally spent the first night in the still sparsely furnished
Yellow House on 17 September.;
The Red Vineyard (November 1888), Pushkin Museum, Moscow). Sold to Anna Boch,
1890.On 23 October Gauguin eventually arrived in Arles, after repeated requests
from Van Gogh. During November they painted together. Uncharacteristically, Van
Gogh painted some pictures from memory, deferring to Gauguin's ideas in this.
Their first joint outdoor painting exercise was conducted at the picturesque
Alyscamps.[63] It was in November that Van Gogh painted The Red Vineyard.
In December the two artists visited Montpellier and viewed works by Courbet and
Delacroix in the Museé Fabre. However, their relationship was deteriorating
badly. They quarrelled fiercely about art. Van Gogh felt an increasing fear that
Gauguin was going to desert him, and what he described as a situation of
"excessive tension" reached a crisis point on 23 December 1888, when Van Gogh
stalked Gauguin with a razor and then cut off the lower part of his own left ear
lobe, which he wrapped in newspaper and gave to a prostitute named Rachel in the
local brothel, asking her to "keep this object carefully."[64] Gauguin left
Arles and did not see Van Gogh again. Van Gogh was hospitalised and in a
critical state for a few days. He was immediately visited by Theo (whom Gauguin
had notified), as well as Madame Ginoux and frequently by Roulin. In January
1889 Van Gogh returned to the "Yellow House", but spent the following month
between hospital and home, suffering from hallucinations and paranoia that he
was being poisoned. In March the police closed his house, after a petition by
thirty townspeople, who called him fou roux ("the redheaded madman"). Signac
visited him in hospital and Van Gogh was allowed home in his company. In April
he moved into rooms owned by Dr. Rey, after floods damaged paintings in his own
home. On 17 April Theo married Johanna Bonger in Amsterdam.
On 8 May 1889 Van Gogh, accompanied by a carer, the Reverend Salles,
committed himself to the mental hospital of Saint-Paul-de-Mausole in a former
monastery in Saint Rémy de Provence, a little less than 20 miles (32 km) from
Arles. The monastery was a mile and a half out of the town and was in an area of
cornfields, vineyards, and olive trees. The hospital was run by a former naval
doctor, Dr. Théophile Peyron, who had no specialist qualifications. Theo van
Gogh arranged for his brother to have two small rooms, one for use as a studio,
although in reality they were simply adjoining cells with barred windows. During
his stay there, the clinic and its garden became his main subject. At this time
some of his work was characterised by swirls, as in one of his best-known
paintings, The Starry Night. He took some short supervised walks, which gave
rise to images of cypresses and olive trees, but because of the shortage of
subject matter due to his limited access to the outside world, he painted
interpretations of Millet's paintings, as well as his own earlier work. In
September 1889 he painted two new versions of the Bedroom in Arles, and in
February 1890 he painted four portraits of L'Arlésienne (Madame Ginoux), based
directly on a charcoal sketch Gauguin had produced when Madame Ginoux had sat
for both artists at the beginning of November 1888.
In January 1890, his work was praised by Albert Aurier in the Mercure de France,
and he was called a genius. In February, invited by Les XX, a society of
avant-garde painters in Brussels, he participated in their annual exhibition.
When, at the opening dinner, Henry de Groux, a member of Les XX, insulted Van
Gogh's works, Toulouse-Lautrec demanded satisfaction, and Signac declared, he
would continue to fight for Van Gogh's honour, if Lautrec should be surrendered.
Later, when Van Gogh's exhibit was on display with the Artistes Indépendants in
Paris, Monet said that his work was the best in the show.
In May 1890, Van Gogh left the clinic and went to the physician Dr. Paul Gachet,
in Auvers-sur-Oise near Paris, where he was closer to his brother Theo. Dr.
Gachet had been recommended to him by Pissarro, as he had previously treated
several artists and was an amateur artist himself. Van Gogh's first impression
was that Gachet was "sicker than I am, I think, or shall we say just as
much."[68] Later Van Gogh did two portraits of Gachet in oils, as well as a
third—his only etching, and in all three emphasis is on Gachet's melancholic
disposition. In his last weeks at Saint-Rémy Van Gogh's thoughts had been
returning to his "memories of the North",[69] and several of the approximately
70 oils he painted during his 70 days in Auvers-sur-Oise—such as The Church at
Auvers—are reminiscent of northern scenes.
Probably van Gogh's final view of the outside world (looking through a window at
the Auberge Ravoux)Wheat Field with Crows—an example of the unusual double
square canvas-size he used in the last weeks of his life—with its turbulent
intensity is often, but mistakenly, thought to be Van Gogh's last work (Jan
Hulsker lists seven paintings after it). Daubigny's Garden is a more likely
candidate. There are also seemingly unfinished paintings, such as Thatched
Cottages by a Hill.
L’Auberge Ravoux, in Auvers-sur-Oise, where Vincent Van Gogh spent his final
months and where he died. It is now a restaurant.Van Gogh's depression deepened,
and on 27 July 1890, at the age of 37, he walked into the fields and shot
himself in the chest with a revolver. Without realizing that he was fatally
wounded he returned to the Ravoux Inn where he died in his bed two days later.
Theo hastened to be at his side and reported his last words as "La tristesse
durera toujours" (French for "the sadness will last forever"). Vincent was
buried at the cemetery of Auvers-sur-Oise. Theo had contracted syphilis—though
this was not admitted by the family for many years—and not long after Vincent's
death, was himself admitted to hospital. He was not able to come to terms with
the grief of his brother's absence, and died six months later on 25 January at
Utrecht. In 1914 Theo's body was exhumed and re-buried beside Vincent.
Medical records
Vincent and Theo van Gogh's graves at the cemetery of Auvers-sur-Oise.Main
article: Vincent van Gogh's medical condition
Van Gogh cut off the lobe of his left ear during some sort of seizure on 24
December 1888. Mental problems afflicted him, particularly in the last few years
of his life. During some of these periods he did not paint or was not allowed
to. There has been much debate over the years as to the source of Van Gogh's
mental illness and its effect on his work. Over 150 psychiatrists have attempted
to label his illness, and some 30 different diagnoses have been suggested.
Diagnoses which have been put forward include schizophrenia, bipolar disorder,
syphilis, poisoning from swallowed paints, temporal lobe epilepsy and acute
intermittent porphyria. Any of these could have been the culprit and been
aggravated by malnutrition, overwork, insomnia, and a fondness for alcohol, and
absinthe in particular.
Still Life with Absinthe (1887)Medical theories have even been proposed to
explain Van Gogh's use of the colour yellow. One theory holds that Van Gogh's
colour vision might have been affected by his love of absinthe, a liquor that
contains a neurotoxin called thujone. High doses of thujone can cause xanthopsia:
seeing objects in yellow. However, a 1991 study indicated that an absinthe
drinker would become unconscious from the alcohol content long before consuming
enough thujone to develop yellow vision. Another theory suggests that Dr. Gachet
might have prescribed digitalis to Van Gogh as a treatment for epilepsy. There
is no direct evidence that he ever took digitalis, but he did paint Gachet with
some cut flower stalks of Common Foxglove, the plant from which the drug is
derived. Those who take large doses of digitalis often report yellow-tinted
vision or yellow spots surrounded by coronas (like those in the The Starry
Night) and changes in overall colour perception.
A recently proposed illness is lead poisoning. The paints he used were
lead-based, and one of the symptoms of lead poisoning results in a swelling of
the retina, which may have led to the halo effect seen in many of Van Gogh's
later works.It has been suggested that Van Gogh suffered from the brain
disorder, Hypergraphia. The disorder causes a near constant overwhelming urge to
write and is associated with epilepsy or mania.
Work
Van Gogh drew and painted water-colours while he
went to school, though very few of these works survive, and his authorship is
challenged for many claimed to be from this period. When he committed himself to
art as an adult (1880), he started at the elementary level by copying the "Cours
de dessin," edited by Charles Bargue and published by Goupil & Cie. Within his
first two years he began to seek commissions, and in spring 1882, his uncle,
Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam)
asked him to provide drawings of the Hague; Van Gogh's work did not prove up to
his uncle's expectations. Despite this, Uncle Cor (or "C.M. " as he was referred
to by his nephews) offered a second commission, specifying the subject matter in
detail, but he was once again disappointed with the result.
Nevertheless, Van Gogh persevered with his work. He improved the lighting of his
atelier (studio) by installing variable shutters, and experimented with a
variety of drawing materials. For more than a year he worked hard on single
figures—highly elaborated studies in "black and white," which at the time gained
him only criticism. Nowadays they are appreciated as his first masterpieces. In
spring 1883, he embarked on multi-figure compositions, based on the drawings. He
had some of them photographed, but when his brother commented that they lacked
liveliness and freshness, Vincent destroyed them and turned to oil painting.
Already in autumn 1882, Theo had enabled him to do his first paintings, but the
amount Theo could supply was soon spent. Then, in spring 1883, Vincent turned to
renowned Hague School artists like Weissenbruch and Blommers, and received
technical support from them, as well as from painters like De Bock and Van der
Weele, both Hague School artists of the second generation. When he moved to
Nuenen, after the intermezzo in Drenthe, he started various large size
paintings, but he destroyed most of them himself. The Potato Eaters and its
companion pieces, The Old Tower on the Nuenen cemetery and The Cottage, are the
only ones that have survived. After a visit to the Rijksmuseum in Amsterdam,
Vincent was aware that many faults of his paintings were due to a lack of
technical experience. So he went to Antwerp, and later to Paris to improve his
technical skill.
This piece from the Hermitage Museum was painted six weeks before the artist's
death, at around eight o'clock on 16 June 1890, as astronomers determined by
Venus's position in the painting. More or less acquainted with
impressionist and neo-impressionist techniques and theories, Van Gogh went to
Arles to develop these new possibilities. But within a short time, older ideas
on art and work reappeared: ideas like doing series on related or contrasting
subject matter, which would reflect the purpose of art. Already in 1884 in
Nuenen he had worked on a series that was to decorate the dining room of a
friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his
Flowering Orchards into triptychs, began a series of figures which found its end
in The Roulin Family, and finally, when Gauguin had consented to work and live
in Arles side by side with Vincent, he started to work on the The Décoration for
the Yellow House, probably the most ambitious effort he ever undertook. Most of
his later work is elaborating or revising its fundamental settings.
The paintings from the Saint-Rémy period are often characterized by swirls and
spirals. The patterns of luminosity in these images have been shown to conform
to Kolmogorov's statistical model of turbulence. At various times in his life
Van Gogh painted the view from his window; this culminated in the great series
of paintings of the wheat field he could see from his adjoining cells in the
asylum at Saint-Rémy.
Legacy
Since his first exhibits in the late 1880s, Van Gogh's fame grew steadily, among
his colleagues and among art critics, dealers and collectors. After his death,
memorial exhibitions were mounted in Brussels, Paris, The Hague and Antwerp. In
the early 20th century, the exhibitions were followed by vast retrospectives in
Paris (1901 and 1905), Amsterdam (1905), Cologne (1912), New York City (1913)
and Berlin (1914). These prompted a noticeable impact over a new generation of
artists.
The French Fauves, including Henri Matisse, extended both his use of colour and
freedom in applying it, as did German Expressionists in the Die Brücke group.
The 1950s' Abstract Expressionism is seen as benefiting from the exploration Van
Gogh started with gestural marks. In 1957, Anglo-Irish artist Francis Bacon
based several paintings on reproductions of Van Gogh's The Painter on his Way to
Work (which had been destroyed during World War II).
He has been the subject or inspiration for a number of classical and popular
musical works, including the Don McLean's 1971 ballad "Vincent", also known by
its opening words, "Starry Starry Night," which refer to the painting The Starry
Night.
Gallery
The Blooming Plumtree (after Hiroshige), (1887)
Portrait of Père Tanguy, (1887)
Cherry Tree, (1888)
The Old Mill, (1888)
The Harvest, Arles, (1888)
Bridge at Arles, (1888)
View of Arles with Irises, (1888)
The Rhônebarken, (1888)
Cypresses, (1889)
Cornfield with Cypresses, (1889)
View of Arles (Flowering Orchards), (1889)
The Olive Trees, (1889)
Entrance of the Hospital, Saint-Remy, (1889)
L'Arlesienne: (Madame Ginoux), (1890)
The Round of the Prisoners, (1890)
Wheat Field with Crows, (1890)
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