Vincent van Gogh FAQs--Director's Notes
I am frequently asked questions about Vincent so here are some replies.
Should I buy the new edition of van Gogh's letters?
As the author of both the stage play "Stranger on the Earth" as well as the writer/director of the film "The Eyes of Van Gogh" I made extensive use of these extraordinary documents. Vincent's letters are profound, brilliant and fascinating, offering keen insights into the world in which he lived as well as laying bare his soul. Although this new volume is beautiful, the original English translation issued many years ago serves the purpose just as well at a lesser cost, so there is no excuse not to explore them. Almost as remarkable is the story of how they came to be saved, translated and published through the efforts of his sister-in-law, a woman for the ages.
Why did van Gogh want Gauguin to come to Arles?
In my film The Eyes of Van Gogh, Paul Gauguin's arrival at the Yellow House in Arles is the happiest day in Vincent van Gogh's life. He will now be able to work with the man who, among living artists, he regards with the highest respect and esteem. He'll have a friend and companion in art. From this will come his greatest dream: the realization of the School of the South. From this day forth, he believes, everything he has dreamt of is possible.
To prepare for Gauguin's arrival, Vincent has been working day and night with little sleep or food. He's determined to show Gauguin as much good work as possible. All of Vincent's hyperactivity and nervousness are focused completely on Gauguin. He and what he represents to Vincent are the emotional center of the scene. In his overwhelming excitement and eagerness he cuts off thoughts in mid-sentence and then jumps to a different thought entirely.
Did Vincent van Gogh hallucinate?
In my film, the audience first becomes aware that Vincent van Gogh is hearing voices when Dr. Peyron, played by Roy Thinnes, escorts him to his room in the insane asylum at St. Remy.
Vincent absorbs the atmosphere of the room like a sponge. He finds it desolate. He can feel it, taste it - almost hear it. When he hears the voices of his mother and father he reacts very much as he did at the time as a child. He is, in turn, startled, confused, and ultimately trembling in fear and anticipation.
Those voices began to torment van Gogh the night he threatened Paul Gauguin with a razor and continued after Gauguin left Arles. They are insidious and ugly yet, perversely, irresistible.
Throughout the film, he has no control over them. When they occur he feels transported to another world. Voices and sounds in the present are barely heard. He reacts to them, not retrospectively, but rather in relation to what they meant when they took place. He lives in the moment they occurred and takes the audience with him.
Did Gauguin cut of van Gogh's ear?
As one who has also spent many years researching the life of Vincent van Gogh, I empathize with the effort spent in producing the book, Van Gogh's Ear: Paul Gauguin and the Pact of Silence, by Hans Kaufmann and Rita Wildegans.
I understand and appreciate their fascination with this extraordinary individual. Nonetheless, it must be said that the entire basis of their book rests on a regrettable but enormous misunderstanding of what it was van Gogh wrote to his brother Theo and to Paul Gauguin. That, plus a very selective editing of the same letters and an apparent lack of awareness of certain key facts about Gauguin, led them to a very flawed premise. They then proceeded to shore up their thesis with assertions easily rebutted and with one ludicrous and fabricated incident.
Frankly, I am astonished and appalled by the unthinking reception and attention this book has received from the press.
The authors have concluded that Gauguin, not Vincent himself, is responsible for the mutilation of van Gogh's ear. They state We carefully re-examined witness accounts and letters written by both artists and we came to the conclusion that van Gogh was terribly upset over Gauguin's plan to go back to Paris. This in itself is no revelation. Anyone who has studied the letters van Gogh wrote to his brother Theo after he mutilated himself, as well as the references to the incident in Gauguin's memoirs, would know this.
Again quoting the authors: In the first letter that Vincent van Gogh wrote after the incident, he told Gauguin, I will keep quiet about this and so will you. That apparently was the beginning of the pact of silence.
The first letter that Vincent wrote after the maiming was to Theo on January 1, 1889, eight days after the event. On the back of the letter he wrote a note to Gauguin questioned the necessity of having Theo come to Arles. Look here was my brother Theo's journey really necessary, old man? It pained Vincent terribly to live off of Theo; the last thing he wanted was to burden him with this.
Vincent never wrote I will keep silent about this and so will you. There is absolutely no reference to this so called pact of silent anywhere in the letter. The only reference to silence, per se, is in a letter to Theo written January 17, 1889 where he mentions that after the incident he had continually asked for Gauguin but he refused to come. He wrote, How can Gauguin pretend that he was afraid of upsetting me by his present, when he can hardly deny that he knew I kept asking for him continually, and that he was told over and over again that I insisted on seeing him at once. Just to tell him that we should keep it between him and me, without upsetting you. He would not listen. Meaning that Gauguin did tell Theo what had happened. There was no cover-up. No pact of silence. How could there have been since Vincent makes it clear in this letter that Gauguin refused to see him after the mutilation. Any silence Vincent wanted was in regard to Theo's learning what he had done to himself completely in keeping with his character, actions and statements throughout his life, up to and including his suicide, when he pleaded with Dr. Gachet not to let Theo know he had shot himself.
Another point: The telegram Gauguin sent to Theo telling him what happened was sent the following morning after the injury when Gauguin, seeing a crowd at the Yellow House, discovered what Vincent had done. Obviously, if he had injured Vincent, he wouldn't have retired to a hotel and let his friend bleed to death, but would have notified Theo immediately.
Kaufmann also cites correspondence between van Gogh and his brother in which the painter hints at what happened that night without directly breaking the pact of silence writing that, it is lucky that Gauguin does not have a machine gun or other firearms. This is very selective editing. What Vincent actually wrote in that letter of January 17, 1889 is, Fortunately, Gauguin and I and other painters are not yet armed with machine guns and other very destructive elements of war. He was expressing his disdain for violence disguised as sport.
Finally, again quoting the authors: On the evening of December 23, 1888 van Gogh, seized by an attack of a metabolic disease, became very aggressive when Gauguin said he was leaving him for good. The men had a heated argument near the brothel and Vincent might have attacked his friend. Gauguin, wanting to defend himself and wanting to get rid of the madman drew his weapon and made a move towards van Gogh and by that he cut off his left ear.
Several points: 1. It was not Vincent's entire ear that was cut off, but rather the lower third of the ear. 2. If in the course of a heated argument Vincent attacked him, Gauguin would have had no need for a sword since he was an expert boxer and would have made short work of a totally inept fighter like Vincent. (While in Brittany in 1893, Gauguin was attacked by a large group of sailors. He more than held his own until he tripped and severely injured his leg.) 3. Gauguin was also an expert swordsman. The swords he fenced with were, of course, foils. For those who don't know, a foil is a thrusting, not a cutting, weapon and does not have a cutting edge. The idea of Gauguin striking downward with a foil and cutting off a third of Vincent's lower ear is ludicrous; in fact, damn near impossible. If Gauguin did have a cutting sword (which, of course, he didn't) and was able to cut of Vincent's lower ear, rest assured he would have cut off part of his face and shoulder with it.
How sad this whole thing is. As I have written before, there are more myths and misinformation about Vincent van Gogh than any artist who ever lived. What should capture the attention of the world are the facts: The most significant and revelatory things about van Gogh are not that he cut off his earlobe or that he suffered attacks of madness or that he committed suicide, but rather that he lived life to the fullest, realized his artistic potential as much as humanly possible, fought magnificently against the attacks and all forms of adversity - never willingly giving in to them. Most important, he created a superb body of work that will live as long as the human race survives. The theme of his life is his quest to achieve immortality through his work.
Was Vincent was forced into the asylum by the citizens of Arles and his brother?
Vincent van Gogh admitted himself to the insane asylum at St. Remy voluntarily because he wanted to be isolated from the outside world; because he considered himself a potential danger to others; and because he wanted to be in a protective environment.
His brother Theo was strongly against his going the St. Remy and wanted Vincent to come to Paris where Theo and Johanna, his wife, could look after him.
Did Vincent shoot himself in the chest?
No. The reason Vincent van Gogh died slowly and lingered for two days was because he shot himself in the upper abdomen rather than the chest, which had been his intention. The wound he suffered was not necessarily fatal but he no longer had the will to live.
The institution of St. Remy never encouraged Vincent to work; on the contrary, Dr. Peyron opposed the idea from the very beginning and with the greatest reluctance allowed him to paint. I am very glad to hear that they now offer workshops in art therapy, etc. but this was definitely not the case when Vincent was there. The sole treatment was hydrotherapy-hot baths, twice a week. The idea of any kind of work was anathema. There were no books in the asylum, no distractions except bowls and draughts. Vincent found it loathsome that they were given nothing to do. As he said, they were like vegetables, sitting around all day eating, digesting and waiting for their next meal.
If the authorities today claim otherwise they're lying. Vincent's letters prove it. Vincent suffered four attacks at St. Remy. After the final one Dr. Peyron forbid him to paint in spite of his pleading. It was then that he left St.Remy.
David Sweetman's The Love of Many Things - A Life of Vincent Van Gogh corroborates the official version. And what, pray tell, was Sweetman's source? Probably the institutions own account. Who do we believe, Vincent and Theo or Sweetman and the institution?
Vincent wrote to Theo at this time: M. Salles has been to St. Remy they are not willing to let me point outside the institution. April 1889. Theo, over the strong objections of the administrators, persuaded them to allow Vincent to paint and arranged that he should have two rooms, one to be used as a bedroom and the other as a studio. Both, mere dingy cells with bars like all the other cells. Sweetman's description makes it sound like a resort. Reiterating my earlier point, prior to Vincent, no patient at St. Remy was ever allowed to do any work of any kind. Their whole philosophy was to keep all the patients as quiet and inactive as possible. Vincent again, Above all I must not waste my time, I am going to set to work again as soon as M. Peyron permits it; if he does not permit it, then I shall be through with this place. The rather superstitious ideas they have here about painting sometimes depress me more than I can tell you. January 1890. For them to claim that they pioneered the treatment of psychiatric illness (at least when Vincent was there) is belied directly by Vincent's own account. Again: The treatment of patients in the hospital is certainly easy for they do absolutely nothing; they leave them to vegetate in idleness and feed them with stale and slightly spoiled food. Sept. 1889. The food is so-so. Naturally it tastes rather moldy, like in a cockroach infested restaurant in Paris. May 1889. As to the people, Peyron included, who ran the institution, Perhaps they would like nothing better than for the thing to become chronic, and we should be culpably stupid to give into that. They inquire a great deal too much to my liking about what not only I but also what you earn, and so on. August 1889.
Vincent's stay at St. Remy was indeed a nightmare. For them now to try to rewrite history is very typical and very wrong. I made my film The Eyes of Van Gogh to set the record straight, to show what really happened there and also to reveal the truth behind his relationships to his brother, his father and Gauguin. All from his point of view.