Contextual Studies: Vincent Van Gogh Artist Research

Vincent Van Gogh

'The first thing to be said about this painting is that it is revolutionary. It is a new kind of art. The very idea that a collection of objects, painted with fiery brushstrokes in heightened luminous colours, with ridges of thick impasto in some places and bare canvas in others, can reveal the state of someone’s soul was utterly new.' - Guardian

Van Gogh shot himself with, in 1890, at the age of just 37 – is full of fascinating documents that tell a sad story of a man struggling with his declining mental health until finally, in despair of ever getting well or living independently, he chose suicide. It presents a lucid narrative of the final phase of Van Gogh’s life. Yet it is ultimately a pedantic and misleading exhibition whose pursuit of clinical accuracy misses the mystery of Van Gogh’s life and art. - Guardian

Perhaps it is the soul essence captured within the artwork, that makes the work seem so descriptive of feeling. The fluidity of the colours integrating together, or the texture of the paint that pulls you in. Needless to say I am in-love with the warmth of his work, even when the image is the subject of a sombre or difficult scene, the way it is pieced together is romantic.

There is a irony especially within the pieces of Van Gogh work depicting flowers, as there calming nature seems the polar opposite of the artist mentality. When I see them I picture a troubled mind consciously painting something to relax and to clear, or a least distract his mind, he writes in a letter to his brother:

"I am so angry with myself because I cannot do what I should like to do, and at such a moment one feels as if one were lying bound hand and foot at the bottom of a deep dark well, utterly helpless."

This extract is a clear indication of some of the psycho-emotional turmoil the artist was encountering frequently, he goes on to say however:

"How much sadness there is in life! Nevertheless one must not become melancholy. One must seek distraction in other things, and the right thing is to work."

"And yet, Van Gogh ultimately sees his psychological struggles not as something to negate but as his artistic truth, as a vital part of his honest experience, which is the necessary foundation of great art:

Do you know that it is very, very necessary for honest people to remain in art? Hardly anyone knows that the secret of beautiful work lies to a great extent in truth and sincere sentiment."

Within this passage, it would seem as though the artist is attempting to find a balance between spiritual and emotional well-being and is coming to terms (in part) with his struggles as a struggling penniless artist, hinting to it being necessary to do away with material things, in order to find this 'honesty' within the work.

In a letter to his brother the artist asks:

"What is drawing? How does one get there? It’s working one’s way through an invisible iron wall that seems to stand between what one feels and what one can do. How can one get through that wall? — since hammering on it doesn’t help at all. In my view, one must undermine the wall and grind through it slowly and patiently. And behold, how can one remain dedicated to such a task without allowing oneself to be lured from it or distracted, unless one reflects and organises one’s life according to principles? And it’s the same with other things as it is with artistic matters. And the great isn’t something accidental; it must be willed. Whether originally deeds lead to principles in a person or principles lead to deeds is something that seems to me as unanswerable and as little worth answering as the question of which came first, the chicken or the egg."

It is clear from the above extract that Van Gogh bullied himself to do what he set his mind to, with the one aim that this self-punishment would eventually pay off and lead him to greatness. Although many artist over the years right up to modern day express the same mind set, It is my belief that although skill is applaudable , promiseful works come from a conceptual reservoir, where one can turn our heads on the side and see the world differently.