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As I work on this painting of the wheat fields, sadness overcomes me. I worry that Theo, my loving brother, and his family also suffers sadness because of me. Theo’s condition seems to be worsening and I fear for his health. I have gone back to work on my canvases, and have given them my undivided attention. My sickness has taken so much of my life away from me that I suddenly have tried to make the time come back. How I long for its return, when I was able to work for hours, and paint to my hearts content. [tags: Artists]

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Art – Vincent Van Gogh

When she rejected him, van Gogh suffered a breakdown. He threw away all his books except for the Bible, and devoted his life to God. He became angry with people at work, telling customers not to buy the “worthless art. ” He was eventually fired. Between the time of the

Van Gogh volunteered to preach and minister to the sick in south of Belgium. The evangelical committees disagreed with van Sago’s lifestyle, which begun to take a tone of martyrdom. They refused to renew van Sago’s contract and he was forced to find another occupation (Vincent Van Gogh). In the fall of 1880, van Gogh decided to move to Brussels and become an artist. Although he had no formal training, his younger brother Thee offered to support van Gogh financially. At the academy, he met Nathan van Rapped, who was to be his most important artist friend during his Dutch period.

The Climax of his life In April 1881, van Gogh moved in with his parent’s where he set himself the task of earning how to draw. He experimented endlessly with all sorts of drawing materials and concentrated on mastering the technical aspects of his craft like perspective, anatomy and physiognomy. Most of his subjects were taken from peasant life. After a couple encounters with different women, he moved in again with his parent’s, who were now living in Ennui. The Potato Eaters The paining consisted of 5 figures sitting around a square table eating potatoes.

Four of them are females and one male. Although the piece is laced in darkness, the mixed emotions residing in the faces of the occupants shine out brightly. These fugues are so intense that one can nearly hear the conversation being spoken. Subtle aspects

Nevertheless, the Potato Eaters failed to become the painting he set his mind to. Today, however, the painting has reached great heights in the artistic community and is considered as one of his retreat masterpieces, as he had intended it to be (The van Gogh Gallery). In Ennui, van Gogh first began painting regularly, modeling himself chiefly on the French painter Jean-François Millet, who was famous throughout Europe for his scenes of the harsh life of peasants. Van Gogh set to work with an iron will, depicting the lives of villagers and humble workers.

In the end of 1884, he began painting and drawing a major series of heads and work-roughened peasant hands in preparation for a large and complex figure piece that he was planning. By April of 1885, this period of his life came to fruition in the masterpiece of his Dutch Period. In the summer of 1885, he made a large number of drawings of the peasants working in the fields. The supply of models dried up; however, when the local priest forbade his parishioners to pose for van Gogh. He thus turned to painting landscape, inspired in part by a visit to Risks museum in Amsterdam.

This same year he enrolled at the academy in Antwerp. He found the lessons rather tedious but was impressed by the city and its museums. He fell under the spell of Rueben’ palette and brushwork and also discovered Japanese prints. In early 1886, van Gogh went to live with his brother in Paris. There he was finally confronted with the full impact of modern art, especially with the recent work of the impressionists and vivisectionists. He discovered that the dark palette he had developed in Holland was out of date. In order to brighten up he began painting still lives of flowers.

The search of his own idiom led him to experiment with impressionist and postmodernists techniques. He also studied the prints of Japanese master. During this time, he made friends with fellow artists such as Paul Gauguin, Emilee Bernard, Paul Signal, and Georges Serrate. Within two years van Gogh name to terms with his latest development and had forged his own highly personal style. In the early 1888, van Gogh was now a mature artist, who went south to Arles, in Provence. There was where he at last began to feel confident about his choice of career.

He set out to make a personal contribution to modern art with his daring color combinations. He was swept away by the landscape around Arles. In the spring he painted numerous scenes of fruit trees in full blossom. In the summer he painted the yellow wheat fields. Although he had difficulty finding models, he did make portraits, among which were those in the Rolling family. It was typical of van Sago’s faith in his own abilities that he decided not to try to sell any work yet but to wait until he had thirty top-class pictures with which he could announce himself to the world.

He enjoyed the thought that a number of other artists would come and Join him in Arles, where they could all live and work together. The idea seemed to get off to a promising star when Gauguin arrived in October of 1888 (Vincent Van Gogh [1853-1890]). The End Although towards the end of 1888, his optimism was rudely shattered by the first signs of his illness, a type of epilepsy that took the form of delusions and psychotic attacks. It was during one of those seizures that he cut off his left earlobe. Gauguin made hasty departure and van Sago’s dreams of an artist’s colony disappeared.

In April of 1889 he entered himself in the Saint-Paul-De-Mausoleum asylum as a voluntary patient. Van Gogh was unable to work when he suffered episodes of his illness, if he felt well enough, he went out to draw and paint in the garden or surroundings of the asylum. His use of color, which was once intense, became mute. He tried to make his brushwork more graphic. By the closing months of the year, he successfully had two f his paintings shown at the fifth exhibition of Society des artistes independents. Van Gogh made a large number of “transitions in color” of prints by some of his favorite artists, like Millet and Eugene Delicacies.

He found them consoling. They helped him keep in practice (Van Gogh: His Life and Art). Starry Night One of van Sago’s most well-known paintings is Starry Night. The features within the painting are responsible for its growing popularity. There are actually several main aspects that intrigue those that view the image. The sky is filled with swirling clouds, stars ablaze with their own luminescence and a bright crescent moon. Although the features are exaggerated, it is view most individuals are comfortable with. This painting was painted while in an Asylum at Saint-Remy in 1889 (The van Gogh Gallery).

In January of 1890, although he now had a small but growing group of admirers, van Gogh had lost his original passion. He wrote to his brother: “l feel – a failure. That’s it as far as I am concerned- I feel that this is the destiny that I accept, that will never change. ” He nevertheless continued working hard during his two months in Avers-sure-Jose, producing dozens of paintings and drawings. Life had become an intolerable burden. At Eternity’s Gate At Eternity’s Gate also known as Sorrowing Old Man is an oil painting that he made in 1890 in Saint-Remy.

The painting was completed in early May at a time when he was convalescing from a severe relapse in health and two or so months before his death. The work depicts an aged man seated with his head held in his hands, experiencing extreme sorrow and regret at the moment of his passing. Although this was Just once a drawing from 1882, it was until he was at Saint- Remy that he painted this work. It reflects the emotions van Gogh must have been feeling as his mental state deteriorated (The van Gogh Gallery). On July 27, 1890, he hot himself in the chest. He died two days later.

Thee, who had stored the bulk of Vincent work in Paris, died six months later. Theses widow, Johanna van Gogh- Bonged returned to Holland with the collection and dedicated herself to getting her brother in law the recognition he deserved. In 1914, with his fame assured, she published the correspondence between the two brothers. Today, van Gogh is considered the greatest Dutch painter after Rembrandt. Unfortunately, van Gogh was not around to witness the greatness his works became. He contributed so much to the artistic community with his use of nature and painting figures the way he arrayed them.

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Vincent van Gogh

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Discuss the mythic relationship between Vincent van Gogh’s artistic/creative drive and his delicate psychological condition. Is one necessary for the other, or are they mutually exclusive? Describe a possible cause and effect scenario, using the artist’s own words.

Few artists have created a body of work that is so inseparable from the facts and myths of the artist’s life and persona. Van Gogh’s unbridled passion and ecstatic contemplation of life, nature, and art, his intense spirituality and religious zeal, his generous, ardent, and sincere disposition, and especially, his violent and enigmatic illnesses and suicide at age thirty-seven have all contributed to powerful and often inaccurate myths that can obscure a clear understanding of the important painter. The months he spent in Arles, St. Remy, and Auvers allowed Vincent to paint at a near frenzied pace, until he felt “broke and crazy” (L 513, July 1888). His last two and a half years of life comprised the most prolific and successful period of his career. However, the stress and sheer physical and mental exertion of this obsessive output was too much for his encroaching illnesses, and his condition gradually worsened as his painting became increasingly facile, formally daring, and accomplished.

It is easy, but ultimately misguided, to view and interpret van Gogh’s painting strictly in light of his psychological condition–the strong evidence of his letters indicates that he only worked during lucid periods. He was able to discuss his work on a superior intellectual and rational level with his brother and his friends. More accurate than the notion that his art was produced by his psychological crises is the understanding of his art as the catalyst for his psychological collapse. Vincent himself voiced sentiments of regret at the physical and mental disintegration that he believed were the fault of his obsessive creativity: “The more I am spent, ill, a broken pitcher, by so much more I am an artist. [A] kind of melancholy remains within us when we think that one could have created life at less cost than creating art” (L 514, July 1888). In other words, we should not overestimate the effect van Gogh’s breakdowns had on his art, but instead untangle the myths in order to recognize and concentrate on a profound talent tempered by a prodigious, exhausting, and ultimately, debilitating creative effort.

Discuss the influence that Impressionism and Japanese prints had on van Gogh’s work, specifically during the Paris period. Did Impressionism permanently alter his sense of color and form, or were the influences that led to his mature style more complex?

Although he was still an outsider (due to his non-French nationality, his unallied work, and his unpredictable bipolarity), Vincent finally felt part of a community of artists during his time in Paris. He was able to trade paintings with many of the Impressionists, and a Parisian dealer even took some of his work. The influence of the Impressionists’s color theories and use of light, along with Vincent’s rising interest in Japanese prints, brought Vincent closer to his mature style as he tried a pseudo-Pointillist approach to painting in discreet, regular, short brushstrokes in heavy impasto and explored vibrant color, “seeking oppositions. to harmonize brutal extremes. trying to render intense color and not a gray harmony” (L 470).

By August 1886, Vincent had left Cormon’s studio because of Cormon’s refusal of the new color theories and his insistence on painting plaster casts rather than live nude models. Vincent painted atmospheric cityscapes (like View from Vincent’s Window and The Roofs of Paris) and a remarkable series of flowers in vases (like Vase with Poppies, Daisies, Cornflowers, and Peonies and Vase with Gladioli) to discipline his discovery of powerful color and Impressionist/neo-Impressionist theory. His Paris style is a unique amalgam of Impressionism and his own mature style of proto- Expressionism; van Gogh was influenced by Impressionism and the flattened, linear forms of Japanese prints (which he collected), but also by the old Dutch masters. His art was inherently synthetic, combining disparate influences to create a completely unique vision of stylized representation that went far beyond the circumscribed confines of Impressionism. Even in his Parisian self- portraits and portraits (particularly Portrait of Pere Tanguy), he began to distort and exaggerate form to express the overwhelming turmoil of his emotional life. Vincent experimented with Impressionist theory and technique, absorbed what he wanted, and then rejected the rest. His conception of art was fundamentally different from the Impressionists’–his paintings record the immediacy of emotional, spiritual, and psychological impact with the subject filtered through the artist, as opposed to the purely optical/perceptual recording of the Impressionists. His mature style bears little resemblance to Impressionism–the color, form, heavily modeled line, paint handling, and texture is diametrically opposed to Impressionism in its intensity, nonobjective, unnatural choice of colors and the violent, forceful attack of line and form.

What influence did van Gogh’s radical stylistic departures from the Parisian avant-garde’s languages of Impressionism and post-Impressionism have on the development of modernist painting?

A brilliant colorist who took Gauguin’s subjective color choices a step further to his characteristically acidic, imaginative, overwhelmingly intense hues, Van Gogh’s tremendous influence on the development of Expressionism is due to his unique skill as a draughtsman and his immediately recognizable heavy, sculptural line. He wrote to his brother, “Instead of trying to reproduce exactly what I have before my eyes, I use color more arbitrarily in order to express myself forcibly. to exaggerate the essential and to leave the obvious vague” (Arnason 85). For instance, in his nightmarish masterpiece The Night Cafe, 1888, he sought “to express in red and green the terrible passions of human beings” (Schapiro 26). Van Gogh’s revolutionary approach to painting had a strong influence on the next generation of artists, beginning with Matisse and the French Expressionists, also known as the Fauves. He offered these early modernists a powerful alternative to the avant-garde centrality of delicate Parisian Impressionism and post-Impressionism. His innovative and radical use of unnatural color, his angular, heavy line, his compression of three-dimensional space into two-dimensional discreet pictorial elements (like brushstroke and pattern), and particularly his stylized distortion and often-groteque exaggeration of reality all appealed to the Expressionist artists. The German Expressionists, especially the Die Brucke group, considered themselves the heirs to van Gogh, whom they esteemed the premier genius of modern art. Van Gogh’s penetrating and revealing portraits were of special interest to the young Germans’ and Austrians’ high regard for the psychoanalytical theories of Freud. Even Picasso was not immune to van Gogh’s formidable influence. Picasso’s pre- Cubist work demonstrates his knowledge of van Gogh’s painting, and the Vincent’s spontaneity and forceful immediacy affected even Picasso’s transitional Cubist work in the era of Les Demoiselles d’Avignon. Joan Miro admitted that his early work was indebted to van Gogh. His influence reappeared after WWII with Abstract Expressionism, particularly the work of fellow Dutchman Willem de Kooning, and the respectful van Gogh studies and tribute paintings of the British neo-Expressionist painter Francis Bacon. Even today, van Gogh’s stylistic syntax is evident in neo-Expressionist painting in Europe and the United States.

Essay Topics

Discuss van Gogh’s complex relationship with his family, particularly his brother Theo. To what extent did Vincent distance himself from his family and/or embrace his heritage?

To what extent did van Gogh’s nationality influence his life, his art, and his outsider status? Is his nationality crucial to his artistic development? Does it matter that he wasn’t French like the rest of his avant-garde colleagues?

Discuss van Gogh’s obsession with portrait painting in light of his life and his personality. Why did the portrait fascinate him so, especially towards the end of his life? What did he mean when he said he wanted his portraits to be like “apparitions”? Cite specific examples of work.

Discuss the development of the landscape in van Gogh’s art, from his early work in The Netherlands through his transcendent final double-square landscapes from Auvers? Does van Gogh ever really achieve abstraction with his landscapes?

What role did religion, spirituality, and faith play in van Gogh’s life and art? Discuss the evolution of his faith, from childhood to death, citing specific works if possible.

Why do you think van Gogh was so preoccupied with peasant portraiture and documentation for so much of his life, even though he himself came from a decidedly middle-class family? How does this preoccupation relate to his ideas about religion, place, and the value of life?

Do you think van Gogh’s psychological troubles, and/or his spiritual and artistic life, was really triggered by his first failed love affair with Eugenie Loyer in London? What part did romance play in van Gogh’s life and work? Discuss his view of women, in light of his early interest in Michelet’s writings as well as his depiction of women in his art? Cite specific paintings as examples.

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Van Gogh Biography

By: Tommy • Essay • 418 Words • April 12, 2010 • 1,122 Views

Van Gogh Biography

Vincent van Gogh, for whom color was the chief symbol of expression, was born in Groot-Zundest, Holland. The son of a pastor, brought up in a religious and cultured atmosphere, Vincent was highly emotional and lacked self-confidence. Between 1860 and 1880, when he finally decided to become an artist, van Gogh had had two unsuitable and unhappy romances and had worked unsuccessfully as a clerk in a bookstore, an art salesman, and a preacher in the Borinage (a dreary mining district in Belgium), where he was dismissed for overzealousness. He remained in Belgium to study art, determined to give happiness by creating beauty. The works of his early Dutch period are somber-toned, sharply lit, genre paintings of which the most famous is "The Potato Eaters" (1885). In that year van Gogh went to Antwerp where he discovered the works of Rubens and purchased many Japanese prints.

In 1886 he went to Paris to join his brother Thйo, the manager of Goupil's gallery. In Paris, van Gogh studied with Cormon, inevitably met Pissarro, Monet, and Gauguin, and began to lighten his very dark palette and to paint in the short brushstrokes of the Impressionists. His nervous temperament made him a difficult companion and night-long discussions combined with painting all day undermined his health. He decided to go south to Arles where he hoped his friends would join him and help found a school of art. Gauguin did join him but with disastrous results. In a fit of epilepsy, van Gogh pursued his friend

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Vincent Van Gogh essay

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Vincent Williem Van Gogh is one of the most popular Dutch painters. He was born on March 30, 1853, in Zundert Netherlands to Theodorus Van Gogh, a pastor, and Anna Cornelia Carbentus. Vincent’s father was a successful preacher, and through him, Vincent learnt to regard his fellow humans with due respect. His mother was an amateur artist, and from her, he inherited a love of nature and art. He was the first born in a family of six (Klein 9).

In his childhood years, he enjoyed being in nature and loved reading. He spent time memorizing long excerpts from his favorite works by Harriet Beecher and Charles Dickens. His love of reading also resulted into a love of writing throughout his life whereby he wrote more than eight hundred letters of which most were dedicated to his brother, Theo, telling him the intimate details of his work and life. Some of his favorite outdoor activities were collecting insects and studying plants and animals. He also made up games for his younger brothers and sisters (Valerie 8).

He began attending the village school at Zundert in 1861 and later went to a boarding school in Tilburg, Netherlands where he studied a wide range of subjects including French, German, Arithmetic, History, Geography, Botany, Zoology, Geometry, English, Mathematics and art. Vincent was not happy as a child; he was shy, quiet and unsociable in school. People described Gogh as the little boy with red hair and freckles who hardly ever smiled. He was also perceived to be rude and hot tempered (Malam 7).

In 1868, at the age of 15 years, (Bodden 1870) he left school and spent a year home with his family. In July 1869, he was employed at Goupil and Co., an international art firm that specialized in selling original paintings, lithographs, etchings and prints as an art dealer in The Hague. He was transferred to London in 1873. In his free time, the 20-year-old explored the city, perusing its museums, familiarizing himself with art and sketching the people he encountered.

Here, he fell in love with his landlady’s daughter and was disappointed on learning that she did not love him back which made him moody and irritable and he refused to go out, which made people begin to label him as eccentric, a name he was called more and more as time proceeded. At work, Vincent was he was eager to succeed in the art trade. In fact both painters and customers said they enjoyed working with Vincent. In this company, he learnt to appreciate art since; in each city he worked he was exposed to new museums and artists, his favorite ones including French painters Jean-Francois Millet and Camille Corot (Collins 4).

In the month of October 1874, he was transferred again to Paris, France. Here, he began attending church services on a regular basis and spent quality time in the city’s museums and galleries. He also became unhappy with art trade, which was often displayed in his work by consistently questioning his customers about their taste of art and criticizing them. On realizing his change of attitude and lack of improvement, he was fired in the month of April 1876 (Bodden 1872)

For months, he suffered deep depression, which made him gloomy and eventually he cut off any social life. He became lonely as he rarely communicated with his family. As a result, he became more interested in religion. In May 1877, he was sent by his family to Amsterdam to study theology where he stayed with his Uncle Jan van Gogh who was a naval Vice Admiral. He prepared for the entrance examinations with his other uncle, Johannes Stricker, a celebrated theologian and a publisher of the first “Life of Jesus” but failed. He left his uncle’s house in 1878. He later undertook a three-month course at the Vlaamsche Opleidingsschool Protestant School in Laeken but failed. He moved on to become a preacher. Since he failed to obtain a degree in theology, he worked as an evangelist in a very poor mining area in Belgium (Crispino 13)

During his ministry, Vincent displayed the other side of him that people rarely knew of; his heart was charitable. He had already devoted four years to work as a preacher and above all shared his personal belongings with his brethren since most of them were miserably poor. After a short while, he looked very poor and even turned his face color to black, which made him disagree sharply with his superiors. His superiors viewed his extreme charitable behavior as incompatible with the amount of dignity associated with an ecclesiastic position. They challenged him to change his behaviors but in vain (Blummer, 519).

When he refused fully to conform to their wishes, he was dismissed by the church and again he faced a serious setback in his life. At this point in his life, Vincent suffered yet another marked depression. His parents were exceedingly distressed on seeing their son had abandoned those religious beliefs that had all the way sustained him and began to pay attention to socialist ideas. It is remarkably clear to see that Van genuinely wanted to touch people’s lives and be of use to them. He expressed his depressive emotions by writing to his brother, Theo, indicating that he had not changed; that his only worry is about how he could be useful to the world. He, finally at the age of twenty seven resolved to go back to art with an aim to produce artistic work for people.

Depending largely on his own, he pursued his new career with a single intention. He suffered lack of recognition though he was able to persevere. His brother, Theo, was giving him unfailing financial support since he had become an artist in Paris. He was scorned by his widowed cousin, Kee, who he had a passionate ill-fated infatuation with and as a result he distanced himself from most of his family by cohabiting with a prostitute and two of her children for a year. When he went to live with his parents for a short while, he frequently and violently argued with his father (Blummer 520).

Vincent went to Paris in March 1886 to study at Fernand Cormon’s studio, where he stayed with his brother Theo. Since they no longer needed to communicate by use of letters, less information is known about his stay in Paris than the earlier or later periods of his life. During his stay in Paris, he bought Japanese woodblock prints, of which he had interest since 1885 during his stay at Antwerp when he was using them to decorate the walls of his then studio. The hundreds of prints he collected can be seen at some of the backgrounds of his paintings.

Vincent tremendously admired the artistic works of Adolphe Thomas Monticelli immediately he arrived there in 1886. Van and Theo helped inspire the publishing of the initial book about Monticelli. For the time he worked at Cormon’s studio he frequently visited the circle for John Peter Russell, a British-Australian artist, where he met his fellow students who later painted his portrait with pastel. Paul Gauguin was one of the friends he met at Paris. Gauguin later became famous and was strongly influenced by the movement of impressionists.

Vincent began to suffer from paroxysms that consisted of sudden terrors and lapses of consciousness. Those close to him noticed that he had a peculiar stare, and later a confusional-amnestic- phase followed; he became quarrelsome and untidy and his excessive use of alcohol and smoking are believed to have significantly contributed to his illnesses (Blummer 521). As time passed by, Vincent started having problems appreciating other artists’ views about their work. Conflicts arose between him and his friends. Theo found Vincent unbearable given that he awoke him at night with unnecessary disputes. Luckily, they agreed and made peace by the spring of 1887.

In February 1888, he moved to Arles with the hope to secure a refuge, a time he was unwell from drinking and was undergoing a smoker’s cough. He stayed in a room at the Hotel-Restaurant Carrel. He came to the town with magnificent expectations that it was descent but however Arles to him felt like a dangerous filthy place to be; like a foreign country. He felt lonely and disturbed but sought help from Theo. As a result, they persuaded Gauguin to stay with him towards the end of the year where they established a studio. Their relationship however worsened as they frequently quarreled and two months down the line Gauguin announced that he would leave. However, Vincent was not impressed by Gauguin’s announcement. He quickly threw a glass of abstithe (an alcoholic drink) at Gauguin.

As Gauguin left the house, Vincent followed him and attempted to attack him with a sharp razor. Unsuccessful, he chopped off his earlobe with the razors, gave the cut off piece to his favorite prostitute and later covered his ear with a newspaper. The police was alerted of his intended attack and found him in the house unconscious and he was hospitalized (Collins 260).

In 1889, Vincent went to the hospital in Saint-Paul-de-Mausole to seek medical assistance where he met Dr.Theophile Peyron. Dr. Peyron organized two small rooms for Vincent that were adjacent to each other. The rooms had barred windows and he was to use one of them as a studio.

During his stay in this hospital, Vincent went on with his artistic works concentrating more on his surroundings.He concentrated more on the clinic and its garden as his main subjects of his paintings though he also studied the hospital’s interiors as well. At the hospital he would be allowed short but supervised walks which brought about the images of cypresses and olive trees of which he would then illustrate in his drawings. However, he lacked a wide range of subject matter due to his confinement in the small clinic’s surroundings with lack of access to the world outside the clinic. This meant that he had to work on other artists’ paintings as well as his own work that he had done earlier.

In May 1890, Vincent left the clinic and moved to Auvers-sur-Oise, a place he would be near the physician Dr. Paul Gachet and at the same time closer to Dr.Theophile. Dr. Paul Gachet was an amateur artist and he had treated several artists before. The following month, he painted Dr. Gachet’s portrait and did other two of his portraits in oil and a third one by etching, all displaying the doctor’s melancholic status. During his last week at Saint Remy’s clinic, he had remembered of the North. He made about seventy oil paintings while staying in Auvers-sur-Oise from those memories from the North such as the painting of The Church at Auvers (Malam 21).

After he was acquitted from hospital Vincent’s health deteriorated in December 1889. He had suffered mental illnesses throughout his life but it worsened and became more pronounced in his last years of his life. In some of the times he mentally suffered he would feel unwilling to paint, or at other instances were willing but unable to paint which added more frustrations in his life. He later was so mentally disturbed owing to his inability to paint that he suffered a severe depression (Klein 5).

On July 27 1890, he went to a field and shot himself with a revolver in his chest. He suffered from the incident but still he managed to move back to his hotel room where he stayed for the next two last days of his life. His brother, Theo went to comfort him but Vincent passed on two days later, aged thirty seven years (Klein 5).

Vincent’s fame had grown among his colleagues, dealers, art critics and collectors steadily in the late 1880s owing to the first exhibitions he took participated in the late 80s. After his death exhibitions were conducted in his memory in Paris, Brussels, Antwerp and The Hague. There were retrospectives in the early twentieth century in Amsterdam (1905), Paris (1905), important exhibitions by groups in Cologne (1913) and Berlin in 1914. Those exhibitions had a considerable impact and influence on the other generations of artists and by mid of the twentieth century he was seen as the most famous and recognizable painters in history.

Vincent attended several schools in his early childhood years. His parents wanted him to get the best education and thus looked for the best school for him. Later in his life, Vincent attended art schools and even pursued a course in Theology. This is a clear indication that education is vital in everyone’s life. One should seek an education that compliments his talent to make it more enhanced. He pursued the Theology course twice but failed which shows his determination to achieve his dream.

Vincent used to admire the works of people like Jean-Francois Millet, Joseph Monticelli and Anton Muave, demonstrating the value of friendship and mentorship in one’s life. Van Gogh’s love for Japan allows children to explore other culture from another perspective. His relationship with his colleagues can be employed to examine the exchange of ideas, communal working and artistic emulation (Blummer 522).

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