Behind Beyond Van Gogh

From vibrant sunflowers to moody landscapes, introspective self-portraits, Starry Night and more, Vincent Van Gogh’s art has become iconic. It’s hard to believe that, during his lifetime, Van Gogh’s art was not appreciated. He is thought of as the ‘misunderstood genius’. BEYOND Van Gogh, delves into the mind of the artist, bringing his work to life. Before you attend the show, or right after, brush up on your Van Gogh knowledge so you are able to take away more from the experience, creating A Lasting Impression!

Born into an upper-middle class family in a small town in the Dutch countryside in 1853, Vincent Willem Van Gogh had a strange cross to bear from a very young age. He was born exactly a year after a still-born brother, also named Vincent Willem Van Gogh. Every time he went to church, where his father was the minister, he would walk past a gravestone bearing his name – is this perhaps the reason for his quiet introspection as a child?

Van Gogh loved nature, and immersed himself in the Dutch countryside on long, solitary excursions. These explorations became less solitary with the arrival of his younger brother, Theo van Gogh, near identical in looks to Vincent, who would become his closest companion and confidant.

A side note: As we admire the two portraits below, we see a deep-thinking, gifted artist who was a troubled, gentle, compassionate man; and an insightful critic who recognized his brother’s brilliant mind and work, devoting incredible energy and resources to nurturing and supporting him. This pair was painted in 1887, a self portrait while wearing Theo’s grey felt hat and a portrait of Theo wearing Vincent’s straw boater (the only known portrait Vincent painted of his brother Theo).

At the age of 11, Van Gogh was harshly cut off from the world he knew and loved when he was sent to a boarding school about 30km away from his family. In his later life he recalled the experience of his parents leaving him behind as they drove off in a yellow car – yellow would come to represent ever-elusive happiness in his paintings.

At the age of 16 Van Gogh was sent to apprentice with his uncle, a very successful art dealer. Eventually Theo would join the same company, but in a different city. Van Gogh was overjoyed by this, and started a correspondence with his brother that would eventually comprise more than 800 letters – letters that to this day offer brilliant insights into Van Gogh’s art and psyche.

His work for the art dealership took him to many new places. At the age of 19, Van Gogh was based in London. Although he initially enjoyed what the English capitol had to offer, he soon became disillusioned with the commercialization of art. He was more interested in the art itself, rather than the monetary value attached to it. This, combined with a rejected marriage proposal, inspired Van Gogh to turn to religion, and he started consuming the Bible almost obsessively.

At the age of 23, Van Gogh decided to give up everything and become a missionary. He finally found a flock to guide in Petit-Wasmes in the coal-mining district of Borinage in Belgium. The scenes of poverty he encountered here inspired him to draw what he saw in order to share it with Theo. In solidarity with those he preached to, Van Gogh started sleeping on straw, eating sparingly and neglecting his ablutions. Although he was liked by most, he was seen as a madman. His antics also did not endear him to the church. Eventually his father decided to intervene, and visited Van Gogh. At 27, almost on a whim, Van Gogh decided to leave his missionary behind. He left on foot for Brussels, his mind now set on becoming an artist. Here he enrolled at the Academy of Arts, but lecturers questioned his skills and future as an artist as he had not mastered even the most basic of techniques. He left the academy and started drawing at a feverish pace – drawing and redrawing works of artists he admired.

He eventually decided to go to The Hague, where Anton Mauve, a cousin by marriage, was a respected artist. Mauve took Van Gogh on as an apprentice, and introduced him to watercolors and oil paints – the medium Van Gogh would fall in love with. Van Gogh painted his first oil painting at the age of 28. His palette consisted of darker, earthy tones, far removed from the vibrant colors he would become renowned for. Eventually the relationship between Mauve and Van Gogh soured, and Van Gogh again set out in search of inspiration.

If you hear a voice within you say “you cannot paint,” then by all means paint, and that voice will be silenced.

Vincent Van Gogh

Van Gogh traversed the Dutch countryside, where peasants became the focus of his art. He spent 7 months preparing for what he thought would be his masterpiece – The Potato Eaters. Although this was the first of his paintings Van Gogh considered worthy, it generated little interest at the time.

The Potato Eaters 1885

Again, it was time to move on. The next stop for Van Gogh was Antwerp. In this city Van Gogh discovered and indulged in new vices – absinthe and brothels. Here we would become an alcoholic, a condition that plagued him for the rest of his life.

Again it was time for Van Gogh to pack up and find someplace else to begin anew. This time he decided to turn to his devoted brother, Theo, in Paris. He arrived here in 1886, aged 33. Theo happily housed and fed Vincent, allowing him the freedom to devote himself to his art. Through Theo, who was a successful art dealer, Van Gogh was introduced to the Impressionists. He was mesmerized by their bold use of bright colors. He also discovered Japanese art, and feverishly reimagined and painted Japanese prints in his own style.

 Portrait of Père Tanguy 1887

By sampling from different genres of art and styles of painting, Van Gogh was developing his own iconic style. After only 2 years in Paris, his work had been transformed. This is when he started signing his ‘worthy’ paintings as Vincent.

However, despite the comfort he found in Paris, Van Gogh was longing to once again lose himself in nature – he was in search of colors and inspiration the monochromatic Parisian streets simply did not offer.

Boulevard de Clichy 1887

In the winter of 1888, aged 35, Vincent set out to explore the south of France. Almost by accident, Vincent stumbled upon Arles on his journey south. He was dazzled by the colors and sunshine, and found the surrounding landscapes reminiscent of the Japanese prints he so loved. Again, he started losing himself in nature on long, solitary walks.

What would life be if we had no courage to attempt anything?

Vincent Van Gogh

Vincent started painting at a frantic pace, maybe sensing the steady, unstoppable approach of the void. He perfected his own style of quick, short brushstrokes, and with an almost machine-like speed, was able to produce up to three masterpieces a day.

The Yellow House (the street) 1888

Vincent found lodgings in the Yellow House. Although he had found the perfect setting for his art and psyche, he felt isolated from people – the locals treated his art with indifference. Therefore Vincent planned to turn the yellow corner-building into an artists’ house, where like-minded painters could live and work together.

Five versions of Sunflowers in a vase 1888-1889

The only artist enticed by Vincent’s proposal was Paul Gauguin. While waiting for Gauguin to arrive, Vincent painted a series of sunflowers as a sign of welcome and friendship and an allegiance to his artistic leader. In October of 1888, Gauguin joined Vincent in Arles and they devoted themselves to painting. They flourished together, but soon cracks started to appear in their friendship. They had fundamental differences in opinion when it came to the goal of art, and the lack of privacy added pressure on their differences. Vincent also started drinking large again, which lead to intense psychotic episodes. Things came to a head in December 1888, when after a heated argument, Gauguin left to spend the night at a brothel. Upon his return the next morning, he found a bloody scene in their shared room – Vincent had severed a part of his ear. Gauguin alerted authorities and departed without saying goodbye to Vincent. The two would never see each other again.

After the infamous ear incident, Vincent voluntarily checked into a hospital. He returned to the Yellow House in Arles in January of 1889, but his neighbors and the townsfolk were not happy to have him back. They started a petition to have Vincent committed to an asylum.

Feeling dejected and rejected, Vincent consented to being committed. He spent a year at Saint-Paul-de-Mausole asylum. On the day after his arrival, Vincent wrote to his brother Theo, saying that he already had two paintings “on the go”: one of a lilac bush and the other of “violet irises”. Van Gogh had immediately spotted some irises which had come into flower. Taking his easel, canvas and paints into the garden for the patients, he captured the transient beauty of their dramatic petals. One prominent white bloom is set among a sea of deep violet hues. Beneath the vibrant flowers, the turquoise leaves form a marvelous swirling band.

Irises in a Vase 1890

Exactly a year later Vincent again painted irises when they were at their best. This time he depicted them as cut flowers in a vase, echoing his Sunflower composition and setting them against a yellow background. One stem has just snapped and fallen, breaking the symmetry of the composition and serving as a reminder of life’s transience.

While committed, Vincent suffered from paranoia and epileptic fits. However, his mental health seemed to be recovering. Unfortunately, he relapsed. He began to suffer hallucination and have thoughts of suicide as he plunged into depression. Accordingly, there was a tonal shift in his work. He returned to incorporating the darker colors from the beginning of his career and Starry Night is a wonderful example of that shift. Blue dominates the painting, blending hills into the sky. The little village lays at the base in the painting in browns, greys, and blues. Even though each building is clearly outlined in black, the yellow and white of the stars and the moon stand out against the sky, drawing the eyes to the sky. They are the big attention grabber of the painting.

Starry Night 1889

For Vincent, painting Almond Blossom signified a new start. At the time, he had already been at an asylum in Saint-Rémy for almost ten months. Due to an attack of his illness, Vincent had not worked for weeks. He was now allowed back outside to paint, surrounded by nature.

Almond Blossom was a gift for Vincent’s newborn nephew. The baby was born on January 31, 1890, and Theo and his wife Jo named him Vincent, after his uncle.

Almond Blossom 1890

Vincent worked hard, but that cost him dearly. Once he had completed the painting at the end of February, he had an attack that lasted for two months; his longest ever crisis. Once he had recovered, a new disappointment awaited: Vincent had missed his beloved flowering season.

A side note: Following the death of Vincent and Theo, all of Vincent’s paintings passed into Jo’s hands. She sold a number of works during her lifetime, but Almond Blossom was so precious to Jo and her son that it was never to be sold. It is on display at the Van Gogh Museum in Amsterdam, which was founded by his nephew.

I put my heart and my soul into my work, and have lost my mind in the process.

Vincent Van Gogh

In May 1890, at the age of 37, Vincent left the asylum. Theo wanted to bring Vincent to Paris, and set him up in a village about 30km away. Vincent started to paint at a frantic pace, again losing himself in nature. He was especially moved by the loneliness of the surrounding wheat fields. He depicted this in several paintings, including  Wheatfield with Crows, one of the last paintings he ever painted. It depicts yellow wheat fields contrasted by turbulent, moody skies.

Wheatfield with Crows 1890

Two days before his death, Vincent set out to paint in the wheat fields, returning home very late. No one knows exactly what followed, but the next day he was found crying in pain. He admitted to shooting himself in the stomach. His brother, Theo, rushed to his side. Vincent died on July 29, 1890, aged 37. He would leave behind numerous paintings, some Theo distributed to his friends as keepsakes. The paintings were seen as having no value, simply reminders of a slightly mad artist.

Tragically, Theo would die 6 months later, and be buried next to the brother whose genius only he seemed to understand.

Vincent’s art was rediscovered in the 1920s, and 30 years after his death he started to garner critical acclaim. From the age of 27 to 37, he painted more than 800 paintings, and only ever sold one, The Red Vineyards. Today his paintings are listed among the most expensive in the world. As his renown as an artist grew, so too did our fascination with the man behind the art – a visionary far ahead of his times.

The Red Vineyards near Arles 1888

All art photos are from wikipedia or the Van Gogh Museum.

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