Vincent Van Gogh had long envisioned a community for artists. His idea was for artists, many of whom were unknown and unsure of their success, to come together, form a collective, and share the profits from selling their works.
Also, if one artist succeeded, their work could be sold along with the works of others, allowing everyone to benefit. The idea was that if one artist found success, others could share in that opportunity.
However, this plan never materialized. Perhaps if Vincent had been successful or another prominent artist had led the charge, it could have worked. But most artists were too preoccupied with their day-to-day survival to give it serious thought.
Vincent had many discussions about this artist community with painters like Monet, Pissarro, Renoir, Degas, and Gauguin, hoping they would join. However, they were all more focused on organizing exhibitions, promoting their works, and trying to build their individual fame and wealth.
Starry Night over the Rohne (1888)
Vincent's paintings were still not selling. Despite this, he held onto his dream and told his brother Theo, "Don't sell my paintings. Keep them at home. In time, they will be worth more than 500 francs each."
Still life-vase with fifteen sunflowers (1888)
Among the artists Vincent discussed this dream with was Paul Gauguin. Vincent considered Gauguin a friend, frequently engaging in discussions and painting together. Supported by Theo, both financially and emotionally, they were early members of this envisioned community. Before leaving for Arles, Vincent had even invited Gauguin to join him.
In Arles, feeling the need for companionship, Vincent persistently wrote to Gauguin, inviting him to live with him. He argued that living together would reduce living expenses, allowing them to focus more on their art.
Eventually, Gauguin gave in and headed to Arles. Thrilled at the prospect of painting with Gauguin, Vincent eagerly painted sunflowers, intending to decorate the room and studio with them.
Red vineyards at Arles (1888)
Gauguin finally joined Vincent in Arles, and just like in Paris, they lived and worked together, completely immersed in painting.
Arles offered the perfect landscapes for painting, but not every artist paints landscapes like a camera. Each artist brings their own style and perspective to their work. Though they learned from each other, painting together did little to ease the tension that was building.
Vincent and Gauguin frequently argued and clashed over their artistic differences. Their relationship began to deteriorate after a visit to Montpellier. In his letters to Theo, Vincent often mentioned his disagreements with Gauguin but expressed a strong desire to resolve things peacefully. Unfortunately, like oil and water, their relationship couldn't mix, and tensions only worsened.
On the day of the incident:
Gauguin claimed that Vincent had suddenly threatened him with a razor. Gauguin left the house and spent the night in a hotel. According to reports, Gauguin had often belittled and insulted Vincent. After another argument, Vincent, feeling disgusted by the words he heard, cut off his own ear the next day and sent it to Gauguin through a prostitute.
The police arrived at Vincent's studio after receiving a report. They found him collapsed from blood loss and immediately rushed him to the hospital.
Irises (1889)
Gauguin sent a telegram to Theo, who hurried to Arles to see his hospitalized brother. Vincent, though happy to see Theo, was overwhelmed with guilt.
Vincent was also furious with Gauguin for burdening Theo, who was already busy and supportive of him. He wrote several letters to Gauguin, but Gauguin never responded—except once, shortly before Vincent's death.
Lilac bush (1889)
Reading Vincent’s letters to Theo reveals a thoughtful and respectful mind. Perhaps the translated versions don’t fully capture the depth of his character. But reality seemed harsher.
The people of Arles, fearing that Vincent might pose a danger to the community, signed a petition calling for him to be confined or expelled. To his neighbors, Vincent wasn’t just an artist; he was unpredictable, like a ticking time bomb.
Vincent began to realize his own deteriorating mental state and eventually wrote to Theo:
"My dear brother Theo,
I want to be admitted to the asylum in Saint-Rémy.
It will feel like mental torture for me, but..."
The courtyard of the hospital in Arles (1889)
Vincent voluntarily admitted himself to a psychiatric clinic and began treatment. After surviving many dark and painful moments, the clinic seemed to provide him with some relief. He picked up his brushes again and started painting.
The starry night (1889)
It was during this time that Vincent Van Gogh painted *The Starry Night*.
However, his subsequent paintings reflected his ongoing physical and mental suffering. The pain, confusion, and turmoil of his mind were increasingly evident in his work.
Cypresses with two women (1889)
