Van Gogh and Mental Illness
“One feels as if one were lying bound hand and foot at the bottom of a deep dark well, utterly helpless.”
By Maria Popova
Around the time that Tolstoy was tussling with depression and his spiritual crisis, on the other side of Europe another creative icon was struggling with the darkness of his own psychoemotional landscape. As he was painting some of the most celebrated and influential art of all time, Vincent Van Gogh was combating his anguishing mental illness — frequent episodes of depression, paralyzing anxiety and, according to some accounts, the symptoms of bipolar disorder — which would eventually claim his life in 1890, shortly after his 37th birthday.
Van Gogh’s most direct and honest account of his psychoemotional turmoil comes from the letters to his brother Theo, originally published in 1937 as the hefty tome Dear Theo: The Autobiography of Vincent van Gogh and later excerpted in My Life & Love Are One (public library) — the same wonderful 1976 gem that gave us his thoughts on love, tracing “the magic and melancholy of Vincent van Gogh.” The title comes from a specific letter written during one of the painter’s periods of respite from mental illness, in which he professes to his brother: “Life has become very dear to me, and I am very glad that I love. My life and my love are one.”
In one of the early letters, Van Gogh expressed an aspiration that remained significant for him throughout his life:
Let us keep courage and try to be patient and gentle. And not mind being eccentric, and make distinction between good and evil.
It’s also a thought bittersweet in hindsight, given the self-compassion it implies for being eccentric. Years later, that very eccentricity would be interpreted as madness by his neighbors, who would evict him from his house and lead to his checking into an insane asylum.
Meanwhile, his bouts of depression, when they descended upon him, were unforgiving. In another letter to Theo, he writes:
I am so angry with myself because I cannot do what I should like to do, and at such a moment one feels as if one were lying bound hand and foot at the bottom of a deep dark well, utterly helpless.
But underlying his deep despair is a subtle sense of optimism that carries him and enables him to continue painting despite the mental anguish:
This is my ambition, which is founded less on anger than on love, founded more on serenity than on passion. It is true that I am often in the greatest misery, but still there is within me a calm, pure harmony and music. In the poorest huts, in the dirtiest corner, I see drawings and pictures. And with irresistible force my mind is drawn towards these things. Believe me that sometimes I laugh heartily because people suspect me of all kinds of malignity and absurdity, of which not a hair of my head is guilty — I, who am really no one but a friend of nature, of study, of work, and especially of people.
Like artist Maira Kalman, who asserted nearly a century and a half later that work and love are the two keys to a full life, Van Gogh begins to see his work as his unflinching sense of purpose, his salvation:
How much sadness there is in life! Nevertheless one must not become melancholy. One must seek distraction in other things, and the right thing is to work.
Having at one point subsisted primarily on bread, coffee and absinthe, he embraces work as life’s highest reward, worth any sacrifice:
I believe more and more that to work for the sake of the work is the principle of all great artists: not to be discouraged even though almost starving, and though one feels one has to say farewell to all material comfort.
But in reflecting — as Kurt Vonnegut memorably did — on what makes life fulfilling, it seems that rather than conveying a conviction to his brother, Van Gogh is trying to convince himself:
I have nature and art and poetry, and if that is not enough, what is enough?
And yet, Van Gogh ultimately sees his psychological struggles not as something to negate but as his artistic truth, as a vital part of his honest experience, which is the necessary foundation of great art:
Do you know that it is very, very necessary for honest people to remain in art? Hardly anyone knows that the secret of beautiful work lies to a great extent in truth and sincere sentiment.
Published June 5, 2014