Van Gogh: The Life, Steven Naifeh and Gregory White Smith

Vincent van Gogh is today one of the world’s most beloved artists. His distinctive style is instantly recognizable and the legend that has built up around his life and death promote the idea of him as a tortured genius. This epic biography paints a more balanced picture, focusing not just on the final few dramatic years of his life in which he painted many of his most iconic pictures. Instead, the reader is taken through a detailed account of his whole life – his struggles and failures, obsessions and hopes. At times it is difficult to read the harsh realities of a troubled life.

From his early years he longed for close familial relations, something that remained largely absent throughout his life. His strained relationship with his parents and the circumstances around his father’s death meant an icy reception for their wayward son. His brother Theo often took the role of peacemaker. His relationship with Theo was arguably the most significant of his life but was also fraught with difficulty. Theo financially supported his brother for most of his adult life and suffered social exclusion when he came to live with him in Paris. Vincent seems to have swung between a sense of entitlement and deep feelings of guilt for the burden he knew he was to his brother. The passages describing some of their interactions show behaviour that is nothing short of abusive and is incredibly hard to read. Despite their difficulties, Theo continued to champion Vincent and hope for success in his endeavours.

Vincent emerges as unlikable at times but often as childishly innocent, longing for acceptance and a family home. He travelled around a fair amount and would dream of Theo joining him. His preparations of the Yellow House for Gauguin’s arrival are endearing but the reader is left with a sense of dread knowing his hopes will once more be dashed with disappointment.

He was an outcast wherever he went, people finding his intense painting style alarming and his disheveled appearance a point of mockery. It is this rejection by society that defined his life. He enrolled in art school on a number of occasions but inevitably dropped out due to his unwillingness or inability to follow instruction. His first taste of potential success appeared mere months before his death thanks to the championing of Albert Aurier, a young art critic, but he was sadly not well enough to enjoy it.

Naifeh and Smith rarely speculate throughout, relying on documentary evidence to trace the tumultuous life of Van Gogh. They do not attempt to diagnosis his ailments but merely report on his medical record, explaining the context and medical developments that were happening at the time of his treatment. One point on which they do object however, is the myth of his untimely death. In an appendix that details the evidence that led to their conclusion and the flaws in sources for the alternative, they offer a reasoned debate. This part of the book did not go down well with many in the art world however, and they were accused of having included it purely for the publicity it inevitably created around publication.

A comprehensive, well researched biography that is easy to read thanks to its lively and smooth prose. The wider artistic and cultural conditions of the day are brought to life, situating Van Gogh very much in his time. If you want to know more about the man behind the legend then this is a great place to start.

Further resources can be found at http://vangoghbiography.com/ and scans and transcripts of Van Gogh’s letters can be viewed on http://vangoghletters.org/vg/

Van Gogh and Britain, Tate Modern

The Tate’s much anticipated Van Gogh exhibition showcases some beautiful work but falls into a familiar trap, trying to put Britain at the heart of great artists’ work. He spent almost three years in Britain before he had begun experimenting in paint, and although he may have been inspired by popular novels of the time and art by the likes of Doré that were inspired by the dark, dirty, crowded capital, the connection to Van Gogh’s signature vibrant paintings is stretched beyond reason.

It was a pleasure to see some of his earlier, darker works and the progression to his distinct style and remarkable use of colour. For years he had obsessed over painting working class subjects in mining villages and elsewhere. He walked remarkably long distances and often chose to live close to destitution. You won’t see much of his difficult, obsessive personal life in this exhibition however, where a concerted effort seems to have been made to avoid bringing in too many biographical details.

Starry Night Over the Rhone, lent by the Musée d’Orsay, is luminous, a painting one could happily stare at for hours, reproductions do not do it justice. Aside from the showstoppers lent by other museums and galleries there are also some beautiful examples from private collections. Although the main focus is Van Gogh there are many works displayed from other artists, Millais’ Chill October being a standout.

An interesting exhibition albeit with some areas that feel like filler content. The Tate has attempted to show how Van Gogh was inspired by Britain and then goes full circle by demonstrating his influence on British artists that followed. The framing may be weak but it is nonetheless worth it to experience the mesmerizing effect his works have on viewers.

Van Gogh and Britain is at the Tate Britain until 11^th August 2019.

Auvers-sur-Oise

Less than twenty miles from the centre of Paris sits Auvers-sur-Oise, a picturesque town that has attracted artists for many years. Perhaps most famous for the death of Vincent Van Gogh, it also played host to Paul Cézanne, Charles-François Daubigny and Camille Pissaro. The tourist office supplies a map detailing two walking routes that take in places of note and those that appear in the artwork of its famous inhabitants. Taking advantage of the one direct train there and back which runs from the Gare du Nord at weekends you’ll get a whole day there but struggle to visit everything.

Inside the Church

Armed with our map we first stopped at the Église Notre-Dame de l’Assomption d’Auvers-sur-Oise, immortalized in Van Gogh’s The Church of Auvers. A church has stood on the site since the twelfth century and what remains is an example of early Gothic design. After a brief tour of the interior it was on to the fields beyond, familiar also from Van Gogh’s works. His grave sits in the crematorium here, his brother Theo now rests beside him, having been moved in 1914.

The chateau

A walk across the fields and along quiet streets lead to the Maison-Atelier de Daubigny, a tempting stop that on this occasion we had to pass up. Continuing through historic streets you come to the Chateau d’Auvers, dating from the seventeenth century, a peaceful spot to enjoy the gardens and views over the town. The main building is not open to the public but there is a restaurant on site and a paid exhibition of Impressionist work. Being on a budget we had to pass up on this too (there are so many places to visit it’s best to decide before you arrive where you’re going to prioritise).

Exterior of Auberge Ravoux

For us the main draw was Van Gogh and so we made our way to L’Auberge Ravoux where he lodged for the last seventy days of his life. The staircase leading to the top floor is now poorly lit and in slight disrepair, the walls no longer the shade he would have known. His room is small and plain but all he needed as he spent the majority of his time outside painting from life. We were lucky as the only two English speakers on the tour we were able to spend more time in the room as the presentation was kindly repeated, free from the crowds. I’m told at weekend there are often long queues but we seem to have chanced upon a quieter day. The adjacent room has been dressed to give an idea of how it would have looked, Van Gogh’s having been left unchanged but for the removal of furniture.

After giving ourselves time to reflect after seeing where one of the world’s favourite artists lived during his most prolific period we turned our steps to the Absinthe museum. A small, unassuming building hosts an array of objects using in the preparation of the drink, information of what goes into it, and many examples of the way it permeated popular culture. The contrast is stark between posters hailing the spirit as the height of culture, laughing figures having the time of their life, and the later images of emaciated bodies, families plunged into poverty after suffering abuse at the hands of those inebriated by the potent substance.

The garden at Doctor Gachet's house

Unfortunately, there was not time to complete the longer walk detailed on the map of the town but there was just enough to visit the house of Doctor Gachet, to which entry is free. A tall house overlooking a lovely garden and many rooftops besides, it is a beautiful spot. Gachet welcomed many artists into his home where he offered treatment as well as friendship. A keen painter himself, he amassed a significant art collection which was later donated to French museums by his offspring. Visiting his home gives a great sense of the appeal to artists, but also the chance to learn about the fascinating man himself.

Before catching our train back to Paris there was just time to walk down to the river Oise and enjoy the glow of golden hour. Auvers-sur-Oise is a peaceful and beautiful town that takes no great leap of imagination to understand why it is so popular with artists. Today there are many working studios to enjoy as well as soaking in the history of the place. Even the postboxes and station subway are enhanced with illustration. A perfect day trip that could easily be extended into several days.