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"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
Letter W11
16 June 1889

The biography below is by no means a complete and comprehensive exploration of the life of
Vincent van Gogh. Instead, it's merely an overview of some of the important events in the
chronicle of Van Gogh's life. In my "Books" section I have a page devoted specifically to Van
Gogh biographies and there I recommend some of the best. First and foremost among these is
Jan Hulsker'sVincent and Theo Van Gogh: A Dual Biography--highly recommended.
For a chronological summary of Van Gogh's life, please refer to the Chronology section.

Early Years
Vincent van Gogh was born in Groot Zundert, The Netherlands on 30 March 1853. Van Gogh's
birth came one year to the day after his mother gave birth to a first, stillborn child--also named
Vincent. There has been much speculation about Vincent van Gogh suffering later psychological
trauma as a result of being a "replacement child" and having a deceased brother with the same
name and same birth date. This theory remains unsubstantiated, however, and there is no actual
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 there is virtually no
information about Vincent van Gogh's first ten years. Van Gogh attended a boarding school in
Zevenbergen for two years and then went on to attend the King Willem II secondary school in
Tilburg for two more. At that time, in 1868, Van Gogh left his studies at the age of 15 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 later career as an artist.
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 quickly 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 evidence suggests that Vincent wasn't in love with Eugenie at
all, but rather a Dutch woman named Caroline Haanebeek. The truth remains inconclusive.
Vincent van Gogh would remain in London for two more years. During that time he visited the
many art galleries and museums and became a great admirer of British writers such as George
Eliot and Charles Dickens. Van Gogh was also a great admirer of the British engravers whose
works illustrated such magazines as The Graphic. These illustrations inspired and influenced
Van Gogh in his later life as an artist.
The 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 as the year wore
on that Vincent was no longer happy dealing in paintings that had little 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 April Vincent van Gogh began teaching at Rev. William P. Stokes' school in Ramsgate. He
was responsible for 24 boys between the ages of 10 and 14. His letters suggest that Vincent
enjoyed teaching. After that he began teaching at another school for boys, this one lead by Rev.
T. Slade Jones in Isleworth. In his spare time Van Gogh continued to visit galleries and admire
the many great works of art he found there. He also devoted himself to his Bible study-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.
As a means of making a transition from teacher to clergyman, 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 anticipated: his first Sunday sermon. Although
Vincent was enthusiastic about his prospects as a minister, his sermons were somewhat
lackluster and lifeless. Like his father, Vincent had a passion for preaching, but lacked a gripping
and passionate delivery.
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 9 May to prepare himself for the admission examination to the university where
he was to study theology. Vincent received lessons in Greek, Latin and mathematics, but his lack

of proficiency ultimately compelled him to abandon his studies after fifteen months. Vincent
later described this period as "the worst time of my life". In November Vincent failed to qualify
for the mission school in Laeken after a three month trial period. Never one to be swayed by
adversity, Vincent van Gogh eventually made arrangements with the Church to begin a trial
period preaching in one of the most inhospitable and impoverished regions in western Europe:
the coal mining district of The Borinage, Belgium.
In January, 1879 Vincent began his duties preaching to the coal miners and their families in the
mining village of Wasmes. Vincent felt a strong emotional attachment to the miners. He
sympathized with their dreadful working conditions and did his best, as their spiritual leader, to
ease the burden of their lives. Unfortunately, this altruistic desire would reach somewhat
fanatical proportions when Vincent began to give away most of his food and clothing to the
poverty-stricken people under his care. Despite Vincent's noble intentions, representatives of the
Church strongly disapproved of Van Gogh's asceticism and dismissed him from his post in July.
Refusing to leave the area, Van Gogh moved to an adjacent village, Cuesmes, and remained
there in abject poverty. For the next year Vincent struggled to live from day to day and, though
not able to help the village people in any official capacity as a clergyman, he nevertheless chose
to remain a member of their community. One day Vincent felt compelled to visit the home of
Jules Breton, a French painter he greatly admired, so with only ten francs in his pocket he
walked the entire 70 kilometers to Courrires, France, to see Breton. Upon arriving, however,
Vincent was too timid to knock and returned to Cuesmes utterly discouraged.
It was then that Vincent began to draw the miners and their families, chronicling
their harsh conditions. It was during this pivotal time that Vincent van Gogh chose
his next and final career: as an artist.

Beginnings as an Artist
In autumn of 1880, after more than a year living as a pauper in the Borinage, Vincent left for
Brussels to begin his art studies. Vincent was inspired to begin these studies as a result of
financial help from his brother, Theo. Vincent and Theo had always been close as children and
throughout most of their adult lives maintained an ongoing and poignantly
revealing correspondence. It is these letters, in total more than 700 extant, which form most of
our knowledge of Van Gogh's perceptions about his own life and works.
1881 would prove to be a turbulent year for Vincent van Gogh. Vincent applied for study at the
Ecole des Beaux-Art in Brussels, although the biographers Hulsker and Tralbaut conflict with
regards to the details. Tralbaut suggests a short and unremarkable tenure with the school,
whereas Hulsker maintains that Vincent's application for admission was never accepted.
Whatever the case, Vincent continued drawings lessons on his own, taking examples from such
books as Travaux des champs by Jean-Franois Millet and Cours de dessin by Charles Bargue.
In the summer Vincent was once 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 young son on her own. Vincent fell in love 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. After being spurned by Kee, Vincent decided
to confront her at her parents house. Kee's father refused to let Vincent see his daughter and
Vincent, ever determined, put his hand over the funnel of an oil lamp, intentionally burning

himself. Vincent's intent was to hold his hand over the flame until he was allowed to see Kee.
Kee's father quickly defused the situation by simply blowing 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 by marriage. Mauve had established
himself as a successful artist, and from his home in The Hague, supplied Vincent with his first
set of watercolours--thus giving Vincent his initial introduction to working in colours. Vincent
was a great admirer of Mauve's works and was deeply grateful for any instruction that Mauve
was able to provide. Their relationship was a pleasant one, but would suffer due to tensions
brought about when Vincent began living with a prostitute.
Vincent van Gogh met Clasina Maria Hoornik (1850-1904) in late February 1882, in The Hague.
Already pregnant with her second child when Van Gogh met her, this woman, known as "Sien",
moved in with Vincent shortly afterward. Vincent lived with Sien for the next year and a half.
Their relationship was a stormy one, partly due to both of their volatile personalities and also
because of the strain of living in complete poverty. Vincent's letters to Theo show him to be
devoted to Sien and especially her children, but his art was always his first passion--to the
exclusion of all other concerns, including food. Sien and her children posed for dozens of
drawings for Vincent, and his talents as an artist grew considerably during this period. His early,
more primitive drawings of the coal miners in the Borinage made way for far more refined and
emotion-laden works. In the drawing Sien, Sitting on a Basket, with a Girl, for example, Vincent
masterfully depicts quiet domesticity, as well as an underlying sense of despair--feelings which
would truly define Van Gogh's 19 months living with Sien.
1883 was another year of transition for Van Gogh: both in his personal
life and in his role as an artist. Vincent began to experiment with oil
paints in 1882, but it wasn't until 1883 that he worked in this medium
more and more frequently. As 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 time
recovering from this failed 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 The Netherlands. For the next six 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, now in Nuenen, in late 1883. Throughout the
following year Vincent van Gogh continued to refine his craft. He produced dozens of paintings
and drawings during this period: 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 because 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 yet another dramatic and unhappy turn that summer. Margot Begemann
(1841-1907), whose family lived next door to Vincent's parents, had been in love with Vincent,
and the emotional upheaval of the relationship lead her to attempt suicide by poison. Vincent
was greatly distraught over the incident. Margot eventually recovered, but the episode upset
Vincent a great deal and he referred to it in his letters on a number of occasions.

Turning Point 1885: The First Great Works


In the early months of 1885 Van Gogh continued his series of portraits of peasants. Vincent
viewed these as "studies", works which would continue to refine his craft in preparation for his
most ambitious work to date. Vincent laboured throughout March and April on these studies,
briefly distracted from his work by the death of his father on 26 March. Vincent and his father
had maintained a severely strained relationship over the last few years and, while certainly not
happy about his father's death, Vincent was quite emotionally detached and continued his work.
All the years of hard work, of continually refining his technique and learning to work in new
media--all served as stepping stones toward the production of Vincent van Gogh's first great
painting: The Potato Eaters.
Vincent worked on The Potato Eaters throughout April of 1885. He had
produced various drafts in preparation of the final, large oil on canvas
version. The Potato Eaters is acknowledged to be Vincent van Gogh's first
true 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 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 work throughout 1885, but once again became restless and in need of
new stimulation. He enrolled briefly in the Academy in Antwerp in early 1886, but left it about
four weeks later feeling stifled by the narrow and rigid approach of the instructors. As he
demonstrated frequently throughout his life, Vincent felt that formal study was a poor substitute
for practical work. Vincent had worked for five difficult years to hone his talents as an artist and
with the creation of The Potato Eaters he proved himself a first-rate painter. But Vincent
continually sought to better himself, to acquire new ideas and explore new techniques as a
means of becoming the artist he truly aspired to be. In The Netherlands he had accomplished as
much as he could. It was now time to explore new horizons and begin a journey 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 brother's
somewhat abrasive personality and resisted. As always, Vincent was undeterred and simply
arrived in Paris unannounced in early March. Theo had no choice but to take Vincent in.
Van Gogh's Paris period is fascinating in terms of its role in transforming him as an artist.
Unfortunately, Vincent's two years in Paris is also one of the least documented periods of his
life--namely because biographers are so dependent on the letters 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 district.

Still, the importance of Vincent's time in Paris is clear. Theo, as an art dealer, had many contacts
and Vincent would become familar with the ground-breaking artists in Paris at that time. Van
Gogh's 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). There's no question
that Van Gogh was influenced by the methods of the Impressionists, but he always remained
faithful to his own 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
vibrant hues of the Impressionists. To add further to the complex tapestry of Van Gogh's style, it
was at this point in Paris that Vincent became interested in Japanese art. Japan had only recently
opened its ports to outsiders after centuries of a cultural blockade and, as a result of this longheld isolationism, the western world was fascinated with all things Japanese. Van Gogh began to
acquire a substantial collection of Japanese woodblock prints (now in the collection of the Van
Gogh Museum in Amsterdam) and his paintings during this time (The Portrait of Pre Tanguy,
for example) would reflect both the vibrant use of colour favoured by the Impressionists, and
distinct Japanese overtones. Although Van Gogh only ever produced three copies of Japanese
paintings, the Japanese influence on his art would be evident in subtle form throughout the rest
of his life.
1887 in Paris marked another year in which Vincent evolved as an artist, but it also took its toll
on him, both emotionally and physically. Vincent's volatile personality put a strain on his
relationship with Theo. When Vincent insisted on moving in with Theo, he did so with the hopes
that they could better manage their expenses and that Vincent could more easily devote himself
to his art. Unfortunately, living with his brother also resulted in a great deal of tension between
the two. In addition, 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 often the case throughout his life, poor weather during the winter 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 same pattern was re-emerging. Van Gogh's two years in Paris
had a tremendous impact on his ongoing evolution as an artist. But he had acquired what he was
seeking and it was time to move on. Never truly happy in large cities, Vincent decided to leave
Paris and follow the sun, and his destiny, south.

The Studio of the South


Vincent van Gogh moved to Arles in early 1888 propelled by a number of reasons. Weary of the
frenetic energy of Paris and the long months of winter, Van Gogh sought the warm sun of
Provence. Another 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 train from Paris to Arles on 20
February 1888 heartened by his dreams for a prosperous future and amused by the passing
landscape which he felt looked more and more Japanese the further south he travelled.

No doubt 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 have been
discouraging to Vincent who had left everyone he knew behind in order to seek warmth and
restoration in the south. Still, the harsh weather was short lived and Vincent began to paint some
of the best loved works of his career.
Once the temperature had risen, Vincent wasted no time in beginning his labours outdoors. Note
the two complimentary works: the drawing Landscape with Path and Pollard Trees and the
painting Path through a Field with Willows. The drawing was produced in March and the trees
and landscape appear somewhat bleak after winter. The painting, however, executed a month
later shows the very first 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.
The months to follow would be happy ones. Vincent took a room at the Caf de la Gare at 10
Place Lamartine in early May and rented his famous "Yellow House" (2 Place Lamartine) as a
studio and storage area. Vincent wouldn't actually move into the Yellow House until September,
in preparation for establishing it as the base for his
"Studio of the South."
Vincent worked diligently throughout the spring and
summer and began to send Theo shipments of his
works. Van Gogh is often perceived today as an
irritable and solitary figure. But he really did enjoy
the company of people and did his best during these
months to make friends--both for companionship and
also to pose as much valued models. Although deeply
lonely at times, Vincent did make friends with Paul-Eugne Milliet and another Zouave
soldier and painted their portraits. Vincent never lost hope in the prospect of establishing the
artists' commune and began a campaign to encourage Paul Gauguin to join him in the south. The
prospect appeared unlikely, however, 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 move to Arles. Theo was motivated both as a
concerned brother and also as a business man. Theo felt that Vincent would be happier and more
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 see a small degree of success from his works.
Despite the improved state of Theo's financial affairs, Vincent nevertheless remained true to
form and spent a disproportionate amount of his money on art supplies instead of the basic
necessities of life. Malnourished and overworked, Van Gogh's health declined early October, but
he was heartened upon receiving confirmation that Gauguin would join him in the south.
Vincent worked hard to prepare the Yellow House in order to make Gauguin feel welcome.
Gauguin arrived in Arles by train early on 23 October.
The next two 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 art and differing techniques. As the weeks passed, however, 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's as well) fluctuated to match the
weather. Forced to work indoors, Vincent's depression was assuaged, however, when he was
encouraged and stimulated by a series of portraits he undertook. "I have made portraits of a
whole family . . . ." he wrote to Theo (Letter 560). Those paintings, of the Roulin family, remain
among his best loved works.
The relationship between Van Gogh and Gauguin deteriorated throughout December, however.
Their heated arguments became more and more frequent--"electric" as Vincent would describe
them. Relations between the pair declined in tandem with Vincent's state 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 and then took it to a brothel and
presented it to one of the women there. Vincent then staggered back to the Yellow House where
he collapsed. He was discovered by the police and hospitalized at the Htel-Dieu hospital in
Arles. After 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 end of December and the early days of January, Vincent made a nearly full recovery.
The first weeks of 1889 would not be easy for Vincent van Gogh. After his recovery, Vincent
returned to his Yellow House, but continued to visit Dr. Rey for examinations and to have his
head dressings changed. Vincent was encouraged by his progress after the breakdown, but his
money problems 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 dear and faithful friend to Vincent for most of his time in Arles.
Vincent was quite productive in terms of his art throughout January and early February,
producing some of his best known works such as La Berceuse and Sunflowers. On 7 February,
however, Vincent suffered another attack in which he imagined himself being poisoned. Once
again, Vincent was taken to the Htel-Dieu hospital for observation. Van Gogh was kept in the
hospital for ten days, but returned once again to the Yellow House, provisionally: "I hope for
good." (Letter 577)
By this time, however, some of the citizens of Arles had become alarmed by 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 HtelDieu hospital. Vincent remained in the hospital for the next six weeks, but was allowed to leave
on supervised outings--in order to paint and to put his possessions into storage. It was a
productive, but emotionally discouraging time for Van Gogh. As was the case a year before, Van
Gogh returned to painting the blossoming orchards around Arles. But even as he was producing
some of his best works, Vincent realized that his position was a precarious one and, after
discussions with Theo, agreed to have himself voluntarily confined to the Saint-Paul-deMausole asylum in Saint-Rmy-de-Provence. Van Gogh left Arles on 8 May.

Confinement
Upon arrival at the asylum, Van Gogh was placed in the care of Dr. Thophile Zacharie Auguste
Peyron (1827-95). After examining Vincent and reviewing the case, Dr. Peyron was convinced
that his patient was suffering from a type of epilepsy--a diagnosis that remains among the most
likely possibilities, even today. The asylum was by no means a "snake pit," but Van Gogh was
disheartened by the cries of the other residents and the bad food. He found it depressing that the
patients had nothing to do all day--no stimulation of any kind. Part of Van Gogh's treatment
included "hydro-therapy", a frequent immersion in a large tub of water. While this "therapy" was
certainly not cruel in any way, neither was it 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 allowed 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 Night.
Van Gogh's relatively tranquil state of mind didn't last, however, and he was incapacitated by
another attack in mid-July. During this attack Vincent tried to ingest his own paints and for that
reason he was confined and not given access to his materials. Although he recovered fairly
quickly from the incident, Van Gogh was discouraged at being deprived of the one thing that
gave him pleasure and distraction: his art. After another 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's health had often been delicate and he had been
ill throughout much of early 1889.
For two months Van Gogh was unable to leave his room and wrote to his sister: " . . . when I am
in the fields I am overwhelmed by a feeling of loneliness to such a horrible extent that I shy
away from going out . . . ." (Letter W14) In the weeks to follow, however, Vincent would again
overcome his anxieties and resume working. During this time Vincent began to plan for his
eventual departure from the asylum at Saint-Rmy. 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 health remained fairly stable throughout the remainder of 1889.
Theo's health had recovered for the most part and, in the midst of preparing a home with his new
wife, Theo was also 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 between Vincent and Theo worked out many of the details surrounding
Vincent's showing within the exhibit.
On 23 December 1889, a year to the day after the ear slashing incident, Vincent suffered another
attack: an "aberration" as he called it (Letter 620). The attack was serious and lasted about a
week, but Vincent recovered reasonably quickly and resumed painting--this time mainly copies
of other artists' works, due to being confined inside, both because of his mental health and also
because of the weather. Sadly, Van Gogh suffered more attacks throughout the early months of
1890. These attacks came more frequently and left Vincent more incapacitated than any of those

previously. Ironically, during this time when Van Gogh was probably at his lowest and most
mentally despondent state, his works were finally beginning to receive critical acclaim. News of
this, however, only served to depress Vincent further and renewed his hopes to leave the asylum
and return to the north.
After making some inquiries, Theo felt that the best course of action would be 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-Rmy. On 16 May 1890 Vincent van Gogh left the asylum and took an overnight
train to Paris.

"The sadness will last forever . . . . "


Vincent's journey to Paris was uneventful and he was met by Theo upon his arrival. Vincent
remained with Theo, Theo's wife Johanna and their newborn son, Vincent Willem (named after
Vincent) for three pleasant days. Never one to enjoy the hustle and bustle of city life, however,
Vincent felt some stress returning and opted to leave Paris for the more quiet 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 we say just as much"
(Letter 648). Despite his misgivings, however, Vincent managed to find 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 opinion about 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-Rmy, while at the same time provided him
with ample subjects for his painting and drawing. Vincent's first weeks in Auvers passed
pleasantly and uneventfully. On 8 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 good spirits and was remarkably productive, painting
some of his best known works (Portrait of Doctor Gachet and The Church at Auvers, for
example). The initial tranquility of the first month in Auvers was interrupted, however, when
Vincent received news that his nephew was seriously ill. Theo had been going through a most
difficult time throughout the previous few months: uncertainty about his own career and future,
ongoing health problems and finally his own son's illness. Following the baby's recovery,
Vincent decided to visit Theo and his family on 6 July and caught an early train. Very little is
known about the visit, but Johanna, writing years later, would suggest that the day was strained
and fairly tense. Vincent eventually felt overwhelmed and quickly returned to the more quiet
sanctuary of Auvers.
During the next three weeks Vincent resumed his painting and, as his letters suggest, was
reasonably happy. To his mother and sister Vincent wrote: "For the present I am feeling much
calmer than last year, and really the restlessness in my head has greatly quieted down." (Letter
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 basic facts of 27 July 1890
remain clear. On that Sunday evening Vincent van Gogh set out, with his easel and painting
materials, into the fields. There 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 not
to attempt to remove the bullet in Vincent's chest and Gachet wrote an urgent letter to Theo.
Unfortunately, Dr. Gachet didn't have Theo's home address and had to write to him care of the
gallery where he worked. This didn't cause a serious delay, however, and Theo arrived the next
afternoon.
Vincent and Theo remained together for the last hours of Vincent's 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 sat at his bedside and said that we would try
to get him better and that we hoped that he would then be spared this kind of despair, he said 'La
tristesse durera toujours' ('The sadness will last forever.') I understand what he wanted to say
with those words." Theo, always his brother's greatest friend and supporter, was holding Vincent
as 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 burial in its cemetery because Vincent had committed suicide. The nearby
township of Mry, however, agreed to allow the burial and the funeral was held on 30 July.
Vincent's long time friend, the painter Emile Bernard, wrote about the funeral in detail to
Gustave-Albert Aurier:
The coffin was already closed. I arrived too late to see the man again who
had left me four years ago so full of expectations of all kinds . . . .
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 even 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 so much,
yellow dahlias, yellow flowers everywhere. It was, you will remember, his
favourite colour, the symbol of the light that he dreamed of being in
people's hearts as well as in works of art.
Near 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 little, seen him once or twice and who liked him because
he was so good-hearted, so human . . . .
There 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 one based
on Delacroix's La vierge et Jsus. Convicts walking in a circle surrounded
by high prison walls, a canvas inspired by Dor of a terrifying ferocity and

which is also 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 round the pit, weren't they the poor artists, the poor damned souls
walking past under the whip of Destiny? . . . .
At three o'clock his body was moved, friends of his carrying it 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 art was sobbing pitifully the whole time
....
The sun was terribly hot outside. We climbed the hill outside Auvers talking
about him, about the daring impulse he had given to art, of the great
projects he was always thinking about, and about 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 little hill above the fields that were ripe for harvest
under the wide blue sky that he would still have loved . . . perhaps.
Then he was lowered into the grave . . . .
Anyone would have 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 . . . .
Doctor Gachet (who is a great art lover and possesses on of the best
collections of impressionist painting at the present day) wanted to say a few
words of homage about Vincent and his life, but he too was weeping so
much that he could only stammer a very confused farewell . . . (perhaps it
was the most beautiful way of doing it).
He gave a short 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 man and a great artist, he had only two aims, humanity and art.
It was art that he prized above everything and which will make his name
live.
Then we returned. Theodore Van ghog [sic] was broken with grief;
everyone who attended was very moved, some going off into the open
country while others went back to the station.
Laval and I returned to Ravoux's house, and we talked about him . . . .1

Theo van Gogh died six months after Vincent. He was buried in Utrecht, but in 1914 Theo's
wife, Johanna, such a dedicated and tireless supporter of Vincent's works, had Theo's body
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 day.

1. Cahier Vincent 4: 'A Great Artist is Dead': Letters of Condolence on Vincent van Gogh's
Death by Sjraar van Heugten and Fieke Pabst (eds.), (Waanders, 1992), pages 32-35.
References
Vincent and Theo Van Gogh: A Dual Biography by Jan 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 Art by David Sweetman (Touchstone, 1990).

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