In What Ways Did Vincent Van Goghs Family Members Influence His Art and Career?
 | "As for me, I am rather often uneasy in my mind, because I think that my life has not been calm enough; all those bitter disappointments, adversities, changes keep me from developing fully and naturally in my artistic career." Vincent van Gogh |  |
The biography below is by no ways a complete and comprehensive exploration of the life of Vincent van Gogh. Instead, it'southward only an overview of some of the of import events in the chronicle of Van Gogh's life. In my "Books" section I have a folio devoted specifically to Van Gogh biographies and at that place I recommend some of the best. Offset and foremost amidst these is Jan Hulsker's Vincent and Theo Van Gogh: A Dual Biography--highly recommended.
For a chronological summary of Van Gogh'south life, delight refer to the Chronology section.
Early on Years
Vincent van Gogh was born in Groot Zundert, The Netherlands on 30 March 1853. Van Gogh's birth came i twelvemonth to the twenty-four hour period after his mother gave nascence to a first, stillborn child--also named Vincent. There has been much speculation nearly Vincent van Gogh suffering later psychological trauma as a result of existence a "replacement child" and having a deceased blood brother with the same proper name and same birth date. This theory remains unsubstantiated, nonetheless, and at that place is no bodily historical evidence to support it.
Van Gogh was the son of Theodorus van Gogh (1822-85), a pastor of the Dutch Reformed Church, and Anna Cornelia Carbentus (1819-1907). Unfortunately in that location is near no information about Vincent van Gogh'southward starting time x years. Van Gogh attended a boarding schoolhouse in Zevenbergen for two years and then went on to attend the King Willem Two secondary school in Tilburg for two more. At that time, in 1868, Van Gogh left his studies at the age of fifteen and never returned.
In 1869 Vincent van Gogh joined the firm Goupil & Cie., a firm of art dealers in The Hague. The Van Gogh family had long been associated with the art world--Vincent's uncles, Cornelis ("Uncle Cor") and Vincent ("Uncle Cent"), were art dealers. His younger brother, Theo, spent his adult life working as an art dealer and, as a result, had a tremendous influence on Vincent's after career equally an creative person.
Vincent was relatively successful as an art dealer and stayed with Goupil & Cie. for seven more years. In 1873 he was transferred to the London branch of the company and rapidly became enamoured with the cultural climate of England. In late August, Vincent moved to 87 Hackford Road and boarded with Ursula Loyer and her daughter Eugenie. Vincent is said to have been romantically interested in Eugenie, but many early biographers mistakenly misname Eugenie for her mother, Ursula. To add to the decades-long confusion over the names, recent bear witness suggests that Vincent wasn't in love with Eugenie at all, just rather a Dutch woman named Caroline Haanebeek. The truth remains inconclusive.
Vincent van Gogh would remain in London for two more than years. During that time he visited the many fine art galleries and museums and became a great admirer of British writers such every bit George Eliot and Charles Dickens. Van Gogh was too a keen admirer of the British engravers whose works illustrated such magazines equally The Graphic. These illustrations inspired and influenced Van Gogh in his afterward life as an artist.
The human relationship between Vincent and Goupil's became more strained as the years passed and in May of 1875 he was transferred to the Paris branch of the firm. It became clear every bit the year wore on that Vincent was no longer happy dealing in paintings that had trivial appeal for him in terms of his own personal tastes. Vincent left Goupil's in late March, 1876 and decided to return to England where his two years there had been, for the most part, very happy and rewarding.
In Apr Vincent van Gogh began instruction at Rev. William P. Stokes' school in Ramsgate. He was responsible for 24 boys betwixt the ages of x and 14. His letters suggest that Vincent enjoyed instruction. After that he began instruction at some other school for boys, this one pb by Rev. T. Slade Jones in Isleworth. In his spare fourth dimension Van Gogh connected to visit galleries and admire the many great works of art he plant there. He as well devoted himself to his Bible written report--spending many hours reading and rereading the Gospel. The summer of 1876 was truly a time of religious transformation for Vincent van Gogh. Although raised in a religious family, it wasn't until this time that he seriously began to consider devoting his life to the Church building.
As a means of making a transition from instructor to chaplain, Vincent requested that Rev. Jones give him more responsibilities specific to the clergy. Jones agreed and Vincent began to speak at prayer meetings held within the parish of Turnham Green. These talks served as a means of preparing Vincent for the task which he had long predictable: his showtime Sunday sermon. Although Vincent was enthusiastic about his prospects equally a minister, his sermons were somewhat lackluster and lifeless. Similar his father, Vincent had a passion for preaching, but lacked a gripping and passionate commitment.
Undeterred, Vincent van Gogh chose to remain in The Netherlands after visiting his family over Christmas. After working briefly in a bookshop in Dordrecht in early 1877, Vincent left for Amsterdam on nine May to prepare himself for the admission examination to the university where he was to written report theology. Vincent received lessons in Greek, Latin and mathematics, just his lack of proficiency ultimately compelled him to abandon his studies after fifteen months. Vincent later described this flow as "the worst fourth dimension of my life". In November Vincent failed to qualify for the mission school in Laeken afterward a three month trial menstruation. Never i to be swayed past adversity, Vincent van Gogh eventually made arrangements with the Church building to begin a trial catamenia preaching in one of the most inhospitable and impoverished regions in western Europe: the coal mining district of The Borinage, Belgium.
It was then that Vincent began to draw the miners and their families, chronicling their harsh conditions. Information technology was during this pivotal time that Vincent van Gogh chose his side by side and final career: as an artist.
Ancestry as an Artist
In autumn of 1880, subsequently more than than a year living equally a pauper in the Borinage, Vincent left for Brussels to begin his art studies. Vincent was inspired to begin these studies as a effect of fiscal assistance from his brother, Theo. Vincent and Theo had always been close as children and throughout most of their developed lives maintained an ongoing and poignantly revealing correspondence. It is these letters, in total more 700 extant, which form most of our knowledge of Van Gogh'due south perceptions well-nigh his own life and works.
1881 would prove to exist a turbulent twelvemonth for Vincent van Gogh. Vincent applied for study at the Ecole des Beaux-Fine art in Brussels, although the biographers Hulsker and Tralbaut conflict with regards to the details. Tralbaut suggests a short and unremarkable tenure with the schoolhouse, whereas Hulsker maintains that Vincent's awarding for access was never accepted. Whatever the case, Vincent continued drawings lessons on his own, taking examples from such books as Travaux des champs past Jean-Fran�ois Millet and Cours de dessin by Charles Bargue. In the summer Vincent was over again living with his parents, now situated in Etten, and during that time he met his cousin Cornelia Adriana Vos-Stricker (Kee). Kee (1846-1918) had been recently widowed and was raising a immature son on her own. Vincent fell in beloved with Kee and was devastated when she rejected his advances. The unfortunate episode concluded with one of the most memorable incidents in Van Gogh's life. Later on being spurned by Kee, Vincent decided to confront her at her parents house. Kee'southward begetter refused to allow Vincent see his daughter and Vincent, e'er determined, put his hand over the funnel of an oil lamp, intentionally burning himself. Vincent's intent was to hold his mitt over the flame until he was allowed to run into Kee. Kee's father chop-chop defused the situation by simply bravado out the lamp and Vincent left the house humiliated.
Despite emotional setbacks with Kee and personal tensions with his father, Vincent found some encouragement from Anton Mauve (1838-88), his cousin past matrimony. Mauve had established himself every bit a successful creative person, and from his home in The Hague, supplied Vincent with his first ready of watercolours--thus giving Vincent his initial introduction to working in colours. Vincent was a great admirer of Mauve's works and was securely grateful for any educational activity that Mauve was able to provide. Their human relationship was a pleasant one, merely would suffer due to tensions brought about when Vincent began living with a prostitute.
1883 was another year of transition for Van Gogh: both in his personal life and in his role equally an artist. Vincent began to experiment with oil paints in 1882, just it wasn't until 1883 that he worked in this medium more and more frequently. Every bit his drawing and painting skills advanced, his relationship with Sien deteriorated and they parted ways in September. As with his failure in The Borinage, Vincent would spend his fourth dimension recovering from this failed human relationship in isolation. With much regret, particularly because of his feelings for Sien's children, Vincent left The Hague in mid-September to travel to Drenthe, a somewhat desolate district in Holland. For the adjacent 6 weeks Vincent lived a rather nomadic life, moving throughout the region and drawing and painting the remote landscape and its inhabitants.
Once again, Vincent returned to his parents' home, at present in Nuenen, in late 1883. Throughout the following yr Vincent van Gogh connected to refine his craft. He produced dozens of paintings and drawings during this menstruation: weavers, spinners and other portraits. The local peasants proved to be his favourite subjects--in part because Van Gogh felt a strong affinity toward the poor working labourers and partly considering he was such an admirer of the painter Millet who himself produced sensitive and compassionate paintings of workers in the fields. Vincent's romantic life took however another dramatic and unhappy plough that summer. Margot Begemann (1841-1907), whose family unit lived next door to Vincent'southward parents, had been in dear with Vincent, and the emotional upheaval of the relationship pb her to attempt suicide by poison. Vincent was greatly distraught over the incident. Margot eventually recovered, just the episode upset Vincent a not bad bargain and he referred to information technology in his messages on a number of occasions.
Turning Signal 1885: The First Great Works
In the early months of 1885 Van Gogh continued his serial of portraits of peasants. Vincent viewed these every bit "studies", works which would continue to refine his craft in training for his about ambitious work to date. Vincent laboured throughout March and April on these studies, briefly distracted from his work by the decease of his father on 26 March. Vincent and his male parent had maintained a severely strained relationship over the concluding few years and, while certainly not happy about his father's death, Vincent was quite emotionally discrete and continued his work.
Vincent worked on The Tater Eaters throughout April of 1885. He had produced various drafts in training of the final, large oil on sail version. The White potato Eaters is acknowledged to be Vincent van Gogh's first truthful masterpiece and he was encouraged by the outcome. Although angered and upset by any criticism of the work (Vincent's friend and fellow artist, Anthon van Rappard (1858-1892), disliked the piece of work and his comments would prompt Vincent to end their friendship), Vincent was pleased with the result and thus began a new, more confident and technically accomplished phase of his career.
Van Gogh continued to piece of work throughout 1885, but once more became restless and in need of new stimulation. He enrolled briefly in the Academy in Antwerp in early 1886, merely left it about iv weeks later feeling stifled by the narrow and rigid approach of the instructors. Equally he demonstrated frequently throughout his life, Vincent felt that formal study was a poor substitute for practical work. Vincent had worked for five hard years to hone his talents as an artist and with the creation of The Potato Eaters he proved himself a starting time-rate painter. Merely Vincent continually sought to better himself, to learn new ideas and explore new techniques as a ways of condign the artist he truly aspired to be. In The Netherlands he had achieved equally much equally he could. It was now time to explore new horizons and brainstorm a journeying which would further refine his craft. Vincent left The Netherlands to find the answers in Paris . . . . and in the company of the Impressionists.
New Beginnings: Paris
Vincent van Gogh had written to his brother, Theo, throughout early 1886 in an effort to convince Theo that Paris was where he belonged. Theo was all too aware of his blood brother's somewhat annoying personality and resisted. As ever, Vincent was undeterred and simply arrived in Paris unannounced in early March. Theo had no option but to accept Vincent in.
Van Gogh'due south Paris catamenia is fascinating in terms of its part in transforming him as an artist. Unfortunately, Vincent's two years in Paris is also 1 of the to the lowest degree documented periods of his life--namely because biographers are so dependent on the messages between Vincent and Theo to supply the facts, and these letters stopped while the brothers lived together in Theo's apartment at 54 rue Lepic in Paris's Montmartre commune.
Nonetheless, the importance of Vincent's time in Paris is articulate. Theo, as an art dealer, had many contacts and Vincent would become familar with the ground-breaking artists in Paris at that fourth dimension. Van Gogh'due south two years in Paris were spent visiting some of the early exhibitions of the Impressionists (displaying works by Degas, Monet, Renoir, Pissarro, Seurat and Sisley). At that place's no question that Van Gogh was influenced by the methods of the Impressionists, only he always remained true-blue to his ain unique style. Throughout the two years Van Gogh would incorporate some of the techniques of the Impressionists, but he never let their powerful influence overwhelm him.
Vincent enjoyed painting in the environs of Paris throughout 1886. His palette began to move away from the darker, traditional colours of his Dutch homeland and would incorporate the more than vibrant hues of the Impressionists. To add further to the circuitous tapestry of Van Gogh's manner, it was at this signal in Paris that Vincent became interested in Japanese art. Nihon had only recently opened its ports to outsiders after centuries of a cultural blockade and, as a result of this long-held isolationism, the western earth was fascinated with all things Japanese. Van Gogh began to acquire a substantial collection of Japanese woodblock prints (at present in the collection of the Van Gogh Museum in Amsterdam) and his paintings during this time (The Portrait of P�re Tanguy, for example) would reflect both the vibrant apply of colour favoured by the Impressionists, and distinct Japanese overtones. Although Van Gogh merely always produced three copies of Japanese paintings, the Japanese influence on his fine art would exist evident in subtle form throughout the remainder of his life.
1887 in Paris marked another year in which Vincent evolved as an artist, but it also took its cost on him, both emotionally and physically. Vincent'southward volatile personality put a strain on his human relationship with Theo. When Vincent insisted on moving in with Theo, he did and then with the hopes that they could better manage their expenses and that Vincent could more than easily devote himself to his art. Unfortunately, living with his brother as well resulted in a bully deal of tension between the 2. In add-on, Paris itself was not without its temptations and much of Vincent's two years there was spent in unhealthy extremes: poor nutrition, and excessive drinking and smoking.
As was oftentimes the instance throughout his life, poor weather during the wintertime months left Vincent irritable and depressed. Never was Vincent more happy then when he was outdoors communing with nature when the weather was at its finest. Whether painting or simply taking long walks, Vincent van Gogh lived for the sun. During the bleak winter months in Paris of 1887-88 Van Gogh became restless. And the aforementioned pattern was re-emerging. Van Gogh's ii years in Paris had a tremendous impact on his ongoing evolution as an creative person. But he had caused what he was seeking and information technology was time to movement on. Never truly happy in large cities, Vincent decided to go out Paris and follow the sun, and his destiny, south.
The Studio of the Southward
Vincent van Gogh moved to Arles in early 1888 propelled by a number of reasons. Weary of the frenetic free energy of Paris and the long months of winter, Van Gogh sought the warm lord's day of Provence. Some other motivation was Vincent's dream of establishing a kind of artists' commune in Arles where his comrades in Paris would seek refuge and where they would work together and support each other toward a common goal. Van Gogh took the railroad train from Paris to Arles on 20 February 1888 heartened by his dreams for a prosperous futurity and tickled by the passing mural which he felt looked more and more Japanese the further south he travelled.
No dubiety Van Gogh was disappointed with Arles during his first few weeks there. In search of the sun, Vincent found Arles unusually cold and dusted with snow. This must accept been discouraging to Vincent who had left everyone he knew behind in gild to seek warmth and restoration in the south. Still, the harsh conditions was curt lived and Vincent began to pigment some of the best loved works of his career.
Once the temperature had risen, Vincent wasted no time in first his labours outdoors. Notation the 2 gratis works: the drawing Landscape with Path and Pollard Copse and the painting Path through a Field with Willows. The drawing was produced in March and the trees and mural appear somewhat bleak afterwards winter. The painting, all the same, executed a month subsequently shows the very showtime spring buds on the trees. During this time Van Gogh painted a series of blossoming orchards. Vincent was pleased with his productivity and, like the orchards, felt renewed.
Vincent worked diligently throughout the spring and summer and began to send Theo shipments of his works. Van Gogh is oft perceived today as an irritable and lonely figure. Merely he actually did savor the company of people and did his best during these months to brand friends--both for companionship and as well to pose as much valued models. Although securely solitary at times, Vincent did make friends with Paul-Eug�ne Milliet and some other Zouave soldier and painted their portraits. Vincent never lost hope in the prospect of establishing the artists' district and began a entrada to encourage Paul Gauguin to join him in the south. The prospect appeared unlikely, withal, because Gauguin's relocation would require even more financial assistance from Theo who had reached his limit.
In late July, however, Van Gogh's Uncle Vincent died and left a legacy to Theo. This financial influx would enable Theo to sponsor Gauguin's motion to Arles. Theo was motivated both as a concerned brother and also as a business human. Theo felt that Vincent would be happier and more than stable in the company of Gauguin and also Theo had hopes that the paintings he would receive from Gauguin, in exchange for his support, would turn a profit. Unlike Vincent, Paul Gauguin was beginning to come across a small degree of success from his works.
Despite the improved state of Theo's fiscal diplomacy, Vincent nevertheless remained true to form and spent a disproportionate amount of his coin on art supplies instead of the basic necessities of life. Malnourished and overworked, Van Gogh'southward health declined early October, merely he was heartened upon receiving confirmation that Gauguin would join him in the due south. Vincent worked difficult to prepare the Yellow House in lodge to make Gauguin feel welcome. Gauguin arrived in Arles past railroad train early 23 October.
The adjacent ii months would be pivotal, and disastrous, for both Vincent van Gogh and Paul Gauguin. Initially Van Gogh and Gauguin got on well together, painting on the outskirts of Arles, discussing their fine art and differing techniques. As the weeks passed, nonetheless, the weather deteriorated and the pair found themselves compelled to stay indoors more and more frequently. As always, Vincent's temperament (and most likely Gauguin'southward every bit well) fluctuated to match the weather. Forced to piece of work indoors, Vincent's depression was assuaged, however, when he was encouraged and stimulated by a series of portraits he undertook. "I accept made portraits of a whole family unit . . . ." he wrote to Theo (Letter 560). Those paintings, of the Roulin family, remain amidst his best loved works.
The relationship betwixt Van Gogh and Gauguin deteriorated throughout December, yet. Their heated arguments became more and more frequent--"electric" every bit Vincent would describe them. Relations between the pair declined in tandem with Vincent'due south land of mental health. On 23 December Vincent van Gogh, in an irrational fit of madness, mutilated the lower portion of his left ear. He severed the lobe with a razor, wrapped it in cloth then took it to a brothel and presented information technology to 1 of the women there. Vincent then staggered back to the Yellowish House where he complanate. He was discovered past the police and hospitalized at the H�tel-Dieu hospital in Arles. Afterward sending a telegram to Theo, Gauguin left immediately for Paris, choosing not to visit Van Gogh in the hospital. Van Gogh and Gauguin would later correspond from time to time, but would never meet in person again.
During his time in the hospital, Vincent was under the care of Dr. Felix Rey (1867-1932). The week following the ear mutilation was critical for Van Gogh--both mentally and physically. He had suffered a great deal of blood loss and continued to suffer serious attacks in which he was incapacitated. Theo, who had rushed down from Paris, was sure that Vincent would die, but by the stop of December and the early on days of January, Vincent fabricated a nearly full recovery.
The first weeks of 1889 would not be piece of cake for Vincent van Gogh. Afterwards his recovery, Vincent returned to his Yellowish House, but continued to visit Dr. Rey for examinations and to have his head dressings inverse. Vincent was encouraged past his progress after the breakup, but his money bug continued and he felt particularly depressed when his close friend, Joseph Roulin (1841-1903), decided to accept a better paying position and move with his family to Marseilles. Roulin had been a honey and faithful friend to Vincent for nigh of his time in Arles.
Vincent was quite productive in terms of his art throughout January and early on February, producing some of his all-time known works such as La Berceuse and Sunflowers. On 7 Feb, however, Vincent suffered another attack in which he imagined himself beingness poisoned. In one case over again, Vincent was taken to the H�tel-Dieu hospital for ascertainment. Van Gogh was kept in the hospital for ten days, merely returned once over again to the Yellowish House, provisionally: "I hope for good." (Letter 577)
By this time, withal, some of the citizens of Arles had get alarmed past Vincent's behaviour and signed a petition detailing their concerns. The petition was submitted to the mayor of Arles and eventually to the superintendent of police who ordered Van Gogh readmitted to the H�tel-Dieu hospital. Vincent remained in the hospital for the adjacent six weeks, but was allowed to leave on supervised outings--in order to pigment and to put his possessions into storage. It was a productive, simply emotionally discouraging fourth dimension for Van Gogh. As was the example a year before, Van Gogh returned to painting the blossoming orchards around Arles. But fifty-fifty every bit he was producing some of his best works, Vincent realized that his position was a precarious i and, after discussions with Theo, agreed to have himself voluntarily confined to the Saint-Paul-de-Mausole asylum in Saint-R�my-de-Provence. Van Gogh left Arles on 8 May.
Confinement
Upon arrival at the asylum, Van Gogh was placed in the care of Dr. Th�ophile Zacharie Auguste Peyron (1827-95). Later on examining Vincent and reviewing the instance, Dr. Peyron was convinced that his patient was suffering from a blazon of epilepsy--a diagnosis that remains among the most probable possibilities, even today. The asylum was by no ways a "snake pit," only Van Gogh was disheartened by the cries of the other residents and the bad food. He found information technology depressing that the patients had goose egg to exercise all mean solar day--no stimulation of whatsoever kind. Part of Van Gogh'south treatment included "hydro-therapy", a frequent immersion in a large tub of h2o. While this "therapy" was certainly not cruel in any style, neither was information technology in the least beneficial in terms of helping to restore Vincent's mental health.
As the weeks passed, Vincent's mental well-being remained stable and he was immune to resume painting. The staff was encouraged by Van Gogh's progress (or, at least, at his not suffering any additional attacks) and in mid-June Van Gogh produced his best known work: Starry Nighttime.
Van Gogh'south relatively tranquil state of listen didn't last, nevertheless, and he was incapacitated past some other assail in mid-July. During this set on Vincent tried to ingest his own paints and for that reason he was bars and not given access to his materials. Although he recovered adequately rapidly from the incident, Van Gogh was discouraged at being deprived of the one thing that gave him pleasance and lark: his art. After another calendar week, Dr. Peyron relented and agreed to allow Van Gogh to resume his painting. His resumption of work coincided with an improved mental state. Vincent sent Theo letters detailing his precarious state of health; while at the same time Theo had similar issues to deal with. Theo'south wellness had often been frail and he had been sick throughout much of early 1889.
For ii months Van Gogh was unable to exit his room and wrote to his sis: " . . . when I am in the fields I am overwhelmed by a feeling of loneliness to such a horrible extent that I shy abroad from going out . . . ." (Alphabetic character W14) In the weeks to follow, nonetheless, Vincent would again overcome his anxieties and resume working. During this time Vincent began to program for his eventual departure from the asylum at Saint-R�my. He expressed these thoughts to Theo who began to make inquiries of possible alternatives for Vincent's medical care--this time much closer to Paris.
Van Gogh's mental and physical wellness remained fairly stable throughout the remainder of 1889. Theo's health had recovered for the well-nigh function and, in the midst of preparing a home with his new wife, Theo was too assisting Octave Maus who was organizing an exhibition, Les XX, in Brussels in which six of Vincent's paintings would be displayed. Vincent seemed enthusiastic about the venture and remained quite productive throughout this time. The ongoing correspondence betwixt Vincent and Theo worked out many of the details surrounding Vincent's showing within the exhibit.
On 23 Dec 1889, a year to the day later on the ear slashing incident, Vincent suffered some other attack: an "aberration" as he called it (Alphabetic character 620). The attack was serious and lasted most a calendar week, but Vincent recovered reasonably quickly and resumed painting--this time mainly copies of other artists' works, due to being confined within, both because of his mental health and as well considering of the weather. Sadly, Van Gogh suffered more attacks throughout the early months of 1890. These attacks came more often and left Vincent more incapacitated than whatever of those previously. Ironically, during this time when Van Gogh was probably at his lowest and most mentally despondent land, his works were finally beginning to receive critical acclaim. News of this, however, merely served to depress Vincent further and renewed his hopes to leave the asylum and return to the northward.
After making some inquiries, Theo felt that the best course of action would exist for Vincent to return to Paris and then enter the care of Dr. Paul Gachet (1828-1909), a homeopathic therapist living in Auvers-sur-Oise, near Paris. Vincent agreed with Theo's plans and wrapped up his affairs in Saint-R�my. On 16 May 1890 Vincent van Gogh left the asylum and took an overnight railroad train to Paris.
"The sadness will last forever . . . . "
Vincent's journeying to Paris was uneventful and he was met by Theo upon his inflow. Vincent remained with Theo, Theo's wife Johanna and their newborn son, Vincent Willem (named after Vincent) for 3 pleasant days. Never i to enjoy the hustle and bustle of city life, withal, Vincent felt some stress returning and opted to get out Paris for the more than placidity destination, Auvers-sur-Oise.
Vincent met with Dr. Gachet shortly after his arrival in Auvers. Although initially impressed by Gachet, Vincent would later express grave doubts about his competence, going so far as to comment that Gachet appeared to be "sicker than I am, I think, or shall nosotros say only every bit much" (Letter 648). Despite his misgivings, however, Vincent managed to observe himself a room in a small inn owned by Arthur Gustave Ravoux and immediately began painting the environs of Auvers-sur-Oise.
Over the course of the next two weeks, Van Gogh's stance well-nigh Gachet softened somewhat and he became completely absorbed in his painting. Vincent was pleased with Auvers-sur-Oise, which afforded him the freedom denied him in Saint-R�my, while at the aforementioned time provided him with ample subjects for his painting and cartoon. Vincent's offset weeks in Auvers passed pleasantly and uneventfully. On eight June Theo, Jo and the baby came to Auvers to visit Vincent and Gachet and Vincent passed a very enjoyable day with his family. To all appearances, Vincent appeared quite restored--mentally and physically.
Throughout June, Vincent remained in practiced spirits and was remarkably productive, painting some of his best known works (Portrait of Doctor Gachet and The Church building at Auvers, for case). The initial tranquillity of the showtime month in Auvers was interrupted, however, when Vincent received news that his nephew was seriously sick. Theo had been going through a most hard fourth dimension throughout the previous few months: incertitude nearly his own career and future, ongoing health bug and finally his own son's illness. Following the baby'southward recovery, Vincent decided to visit Theo and his family on half-dozen July and defenseless an early on train. Very little is known nigh the visit, simply Johanna, writing years later, would suggest that the twenty-four hour period was strained and fairly tense. Vincent eventually felt overwhelmed and quickly returned to the more than quiet sanctuary of Auvers.
During the side by side three weeks Vincent resumed his painting and, as his messages suggest, was reasonably happy. To his mother and sister Vincent wrote: "For the present I am feeling much calmer than last yr, and really the restlessness in my head has greatly quieted down." (Letter of the alphabet 650) Vincent was absorbed in the fields and plains around Auvers and produced some brilliant landscapes throughout July. For Vincent life had appeared to settle into a productive and--if not happy--at least stable pattern.
Although details chronicled within the various reports conflict, the bones facts of 27 July 1890 remain clear. On that Sun evening Vincent van Gogh gear up out, with his easel and painting materials, into the fields. In that location he took out a revolver and shot himself in the chest. Vincent managed to stagger back to the Ravoux Inn where he collapsed in bed and was then discovered by Ravoux. Dr. Mazery, the local practitioner, was called, as was Dr. Gachet. It was decided non to attempt to remove the bullet in Vincent's chest and Gachet wrote an urgent letter of the alphabet to Theo. Unfortunately, Dr. Gachet didn't have Theo'southward home address and had to write to him care of the gallery where he worked. This didn't cause a serious delay, all the same, and Theo arrived the next afternoon.
Vincent and Theo remained together for the last hours of Vincent'south life. Theo was devoted to his brother, holding him and speaking with him in Dutch. Vincent seemed resigned to his fate and Theo later wrote: "He himself wanted to die; when I sabbatum at his bedside and said that we would try to go him better and that we hoped that he would and so be spared this kind of despair, he said 'La tristesse durera toujours' ('The sadness volition final forever.') I sympathize what he wanted to say with those words." Theo, always his brother's greatest friend and supporter, was holding Vincent every bit he spoke his last words: "I wish I could pass away like this."
Vincent van Gogh died at 1:30 am. on 29 July 1890. The Catholic church of Auvers refused to allow Vincent's burying in its cemetery because Vincent had committed suicide. The nearby township of Thou�ry, however, agreed to allow the burial and the funeral was held on 30 July. Vincent'due south long time friend, the painter Emile Bernard, wrote virtually the funeral in item to Gustave-Albert Aurier:
On the walls of the room where his body was laid out all his last canvases were hung making a sort of halo for him and the brilliance of the genius that radiated from them made this death fifty-fifty more painful for us artists who were there. The coffin was covered with a simple white cloth and surrounded with masses of flowers, the sunflowers that he loved and so much, yellow dahlias, yellow flowers everywhere. Information technology was, you will remember, his favourite colour, the symbol of the light that he dreamed of being in people's hearts besides as in works of art.
Nigh him also on the floor in front of his coffin were his easel, his folding stool and his brushes.
Many people arrived, mainly artists, among whom I recognized Lucien Pissarro and Lauzet. I did not know the others, also some local people who had known him a fiddling, seen him once or twice and who liked him considering he was so good-hearted, so human . . . .
At that place we were, completely silent all of us together around this coffin that held our friend. I looked at the studies; a very beautiful and sad ane based on Delacroix's La vierge et J�sus. Convicts walking in a circle surrounded by high prison walls, a canvass inspired by Dor� of a terrifying ferocity and which is likewise symbolic of his end. Wasn't life like that for him, a high prison like this with such high walls--so high . . . and these people walking endlessly circular the pit, weren't they the poor artists, the poor damned souls walking past under the whip of Destiny? . . . .
At iii o'clock his body was moved, friends of his carrying information technology to the hearse, a number of people in the company were in tears. Theodore Van ghogh [sic] who was devoted to his brother, who had always supported him in his struggle to support himself from his fine art was sobbing pitifully the whole fourth dimension . . . .
The sun was terribly hot exterior. We climbed the colina outside Auvers talking about him, about the daring impulse he had given to art, of the groovy projects he was ever thinking virtually, and well-nigh the good he had done to all of us.
We reached the cemetery, a small new cemetery strewn with new tombstones. It is on the piddling hill to a higher place the fields that were ripe for harvest nether the wide blue heaven that he would still have loved . . . perhaps.
Then he was lowered into the grave . . . .
Anyone would take started crying at that moment . . . the day was too much made for him for one not to imagine that he was still alive and enjoying it . . . .
Physician Gachet (who is a nifty art lover and possesses on of the best collections of impressionist painting at the nowadays 24-hour interval) wanted to say a few words of homage virtually Vincent and his life, only he besides was weeping and so much that he could only stammer a very dislocated goodbye . . . (perhaps it was the well-nigh beautiful manner of doing it).
He gave a brusk description of Vincent's struggles and achievements, stating how sublime his goal was and how great an admiration he felt for him (though he had only known him a short while). He was, Gachet said, an honest homo and a swell creative person, he had only two aims, humanity and art. It was art that he prized above everything and which will brand his proper name alive.
Then nosotros returned. Theodore Van ghog [sic] was broken with grief; everyone who attended was very moved, some going off into the open land while others went dorsum to the station.
Laval and I returned to Ravoux's firm, and we talked about him . . . .1
Theo van Gogh died six months after Vincent. He was buried in Utrecht, only in 1914 Theo's wife, Johanna, such a dedicated and tireless supporter of Vincent's works, had Theo'due south trunk reburied in the Auvers cemetery next to Vincent. Jo requested that a sprig of ivy from Dr. Gachet's garden be planted among the grave stones. That same ivy carpets Vincent and Theo's grave site to this mean solar day.
1. Cahier Vincent iv: 'A Slap-up Artist is Dead': Messages of Condolence on Vincent van Gogh'due south Death by Sjraar van Heugten and Fieke Pabst (eds.), (Waanders, 1992), pages 32-35.
References
- Vincent and Theo Van Gogh: A Dual Biography by January Hulsker (Fuller, 1990).
- Van Gogh by Ronald Pickvance (Lausanne: Edipress Imprimeries Reunies, 2000).
- Vincent van Gogh by Marc Edo Tralbaut (Viking, 1969).
- Van Gogh: His Life and Fine art by David Sweetman (Touchstone, 1990).
- Touch Van Gogh :��Van Gogh�s paintings, letters and sketches android app.
Return to Van Gogh chronology folio
Source: http://www.vggallery.com/misc/bio.htm
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