Mental and Physical Illnesses

If there is one thing that most people know about Vincent van Gogh, it’s that he was a sick, sick man. Mental and physical illness plagued him throughout his life, and essentially, were catalysts to his artistic ability. Some would argue that van Gogh’s ability as an artist was a direct result of his myriad illnesses; others would say that he would have been just as talented without leading a tormented life. However, one only has to look at van Gogh’s subject matter and unusual painting style to see that he was truly not well.

Van Gogh cut off the lobe of his left ear during some sort of seizure on 24 December 1888, apparently while trying to kill Paul Gauguin. Mental problems afflicted him, particularly in the last few years of his life. During some of these periods he did not paint or was not allowed to. There has been much debate over the years as to the source of Van Gogh's mental illness and its effect on his work. Over 150 psychiatrists have attempted to label his illness, and some 30 different diagnoses have been suggested.

Diagnoses which have been put forward include schizophrenia, bipolar disorder, syphilis, poisoning from swallowed paints, temporal lobe epilepsy and acute intermittent porphyria. Any of these could have been the culprit and been aggravated by malnutrition, overwork, insomnia, and a fondness for alcohol, and absinthe in particular.

Medical theories have even been proposed to explain Van Gogh's use of the color yellow. One theory holds that Van Gogh's color vision might have been affected by his love of absinthe, a liquor that contains a neurotoxin called thujone. High doses of thujone can cause xanthopsia: seeing objects in yellow. However, a 1991 study indicated that an absinthe drinker would become unconscious from the alcohol content long before consuming enough thujone to develop yellow vision. Another theory suggests that Dr. Gachet might have prescribed digitalis to Van Gogh as a treatment for epilepsy. There is no direct evidence that he ever took digitalis, but he did paint Gachet with some cut flower stalks of Common Foxglove, the plant from which the drug is derived. Those who take large doses of digitalis often report yellow-tinted vision or yellow spots surrounded by coronas (like those in the The Starry Night) and changes in overall color perception.

A recently proposed illness is lead poisoning. The paints he used were lead-based, and one of the symptoms of lead poisoning results in a swelling of the retina, which may have led to the halo effect seen in many of Van Gogh's later works. It has been suggested that Van Gogh suffered from the brain disorder, Hypergraphia. The disorder causes a near constant overwhelming urge to write and is associated with epilepsy or mania.

Art Methods

Van Gogh drew and painted water-colors while he went to school, though very few of these works survive, and his authorship is challenged for many claimed to be from this period. When he committed himself to art as an adult (1880), he started at the elementary level by copying the "Cours de dessin," edited by Charles Bargue and published by Goupil & Cie. Within his first two years he began to seek commissions, and in spring 1882, his uncle, Cornelis Marinus (owner of a renowned gallery of contemporary art in Amsterdam) asked him to provide drawings of the Hague; Van Gogh's work did not prove up to his uncle's expectations. Despite this, Uncle Cor (or "C.M." as he was referred to by his nephews) offered a second commission, specifying the subject matter in detail, but he was once again disappointed with the result.

Nevertheless, Van Gogh persevered with his work. He improved the lighting of his atelier (studio) by installing variable shutters, and experimented with a variety of drawing materials. For more than a year he worked hard on single figures—highly elaborated studies in "black and white," which at the time gained him only criticism. Nowadays they are appreciated as his first masterpieces. In spring 1883, he embarked on multi-figure compositions, based on the drawings. He had some of them photographed, but when his brother commented that they lacked liveliness and freshness, Vincent destroyed them and turned to oil painting. Already in autumn 1882, Theo had enabled him to do his first paintings, but the amount Theo could supply was soon spent. Then, in spring 1883, Vincent turned to renowned Hague School artists like Weissenbruch and Blommers, and received technical support from them, as well as from painters like De Bock and Van der Weele, both Hague School artists of the second generation. When he moved to Nuenen, after the intermezzo in Drenthe, he started various large size paintings, but he destroyed most of them himself. The Potato Eaters and its companion pieces, The Old Tower on the Nuenen cemetery and The Cottage, are the only ones that have survived. After a visit to the Rijksmuseum in Amsterdam, Vincent was aware that many faults of his paintings were due to a lack of technical experience. So he went to Antwerp, and later to Paris to improve his technical skill.

More or less acquainted with impressionist and neo-impressionist techniques and theories, Van Gogh went to Arles to develop these new possibilities. But within a short time, older ideas on art and work reappeared: ideas like doing series on related or contrasting subject matter, which would reflect the purpose of art. Already in 1884 in Nuenen he had worked on a series that was to decorate the dining room of a friend in Eindhoven. Similarly in Arles, in spring 1888 he arranged his Flowering Orchards into triptychs, began a series of figures which found its end in The Roulin Family, and finally, when Gauguin had consented to work and live in Arles side by side with Vincent, he started to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook. Most of his later work is elaborating or revising its fundamental settings.

The paintings from the Saint-Rémy period are often characterized by swirls and spirals. The patterns of luminosity in these images have been shown to conform to Kolmogorov's statistical model of turbulence. At various times in his life Van Gogh painted the view from his window; this culminated in the great series of paintings of the wheat field he could see from his adjoining cells in the asylum at Saint-Rémy.

Van Gogh Today

Since his first exhibits in the late 1880s, Van Gogh's fame grew steadily, among his colleagues and among art critics, dealers and collectors. After his death, memorial exhibitions were mounted in Brussels, Paris, The Hague and Antwerp. In the early 20th century, the exhibitions were followed by vast retrospectives in Paris (1901 and 1905), Amsterdam (1905), Cologne (1912), New York City (1913) and Berlin (1914). These prompted a noticeable impact over a new generation of artists.

The French Fauves, including Henri Matisse, extended both his use of color and freedom in applying it, as did German Expressionists in the Die Brücke group. The 1950s' Abstract Expressionism is seen as benefiting from the exploration Van Gogh started with gestural marks. In 1957, Anglo-Irish artist Francis Bacon based several paintings on reproductions of Van Gogh's The Painter on his Way to Work (which had been destroyed during World War II).

Van Gogh has been the subject or inspiration for a number of classical and popular musical works, including the Don McLean's 1971 ballad "Vincent", also known by its opening words, "Starry Starry Night," which refer to the painting The Starry Night. His paintings are featured in dozens of films and prints, t-shirts, and van Gogh memorabilia can be found all around the world. Vincent van Gogh is a household name and continues to be revered as one of the most famous artists in history.