The Letters of a Post-Impressionist. Vincent Van Gogh
thought. On the other hand, it would either revolt the pagan or leave him indifferent, while he might regard it as a sacrilegious act to squander such a precious art-form as rhyming verses upon so futile a subject.
All beauty, then, in the end, is human beauty, all ugliness is human ugliness. No healthy people of the world have ever considered youth (I do not mean infancy) in any manifestation of nature, as ugly; because youth is the sure promise of human life and of a multiplication of human life. On the other hand, no healthy people have ever considered ulcers, gangrenous limbs, or decay in any form, as beautiful; because ulceration, gangrene, and decay, are the end of human life and the reduction of it. It is true that the “beautiful consumptive,” the “love of consumptives,” the “captivating cripple,” are notions which can be found in Bulwer Lytton and George Eliot, not to speak of a host of minor English writers. But then, let us remember from what part of the world they hail—from the most absurdly sentimental, over-Christianized, and over-Puritanized country on earth—England. But the whole of North-Western Europe is now quite able to vie with England in this sort of nonsense, otherwise the Eugenic Society, which ought to be superfluous, would not require to be so active.
But all this by the way. The beauty, mastery, and excellence of Van Gogh’s penultimate period, then, in my opinion, is twofold. Its content is beautiful and its form is beautiful. Its content is only just beginning to be beautiful, because we must remember that this is the work of a man who started in a school that scorned content. But is it not written that “there is more joy in heaven over one sinner that repenteth than over ninety-nine just persons which need no repentance”? And the beauty of his content is, that it is turning ever more and more definitely towards humanity. It is true that the importance of the content in general is only creeping into his works; but the little of it that there is, is human. No longer negative to man, he begins to introduce human moods into his landscapes, and with human virtues he anthropomorphizes the ground, the trees, the sky, and the distance. There is as much difference between his work now and the work of his impressionistic days as there is between these two descriptions of the rising sun: (1) “The yellow sun ascends into a pink and pale yellow sky which fades away into watery green and finally into a pure azure,” and (2), “Rosy-fingered dawn stands tip-toe on yonder hill.”
He himself writes concerning a certain study: “My desire was to paint it in such a way that the spectator must read and sympathize with the thoughts of the signalman … who seems to say: ‘Oh, what a gloomy day it is!’ ” (page 8).
And again, in regard to the other study, he writes: “While working upon it, I said to myself: ‘Do not put down your palette before your picture seems to partake of the mood of an autumn evening, before it is instinct with mystery and with a certain deep earnestness‘” (page 14). See also the passage about Provence on page 109.
It is now, too, that he writes to his friend Bernard: “I have painted seven studies of corn; unfortunately quite against my will,[7] they are only landscapes” (page 75), and that he feels sympathy with a soldier who prefers a landscape to the sea, because the former is inhabited (page 85). This alone is already a sign that he is turning his back on the sentimental and negative love of landscape as landscape, peculiar to the modern English, French, and Germans, inspired by Rousseau and Schiller—that love of landscape in which man or the hand of man is entirely absent.
With regard to the beauty of his technique in the pictures of this period, the characteristic I chiefly admire in them is their gradual glorification of colour, and neglect of values. But why should one admire colour more than values? In the first place it should be remembered that technique is important only as a means of betraying how a man approaches and deals with reality; while all the virtues of a good technique will once more be traceable to human standards, and be human virtues. Now the technique which places colour above values, is admirable for three reasons: first, because inasmuch as its results are simpler and more definite than those of the “values-technique,” it implies a much more masterful grasp of reality; secondly, since its results betray far less compromise and blended, grey, or democratic harmony, than those of the values-technique, it implies a much braver and less tolerant attitude towards reality; and, thirdly, because its results are so much more luminous and more bright than those of the values-technique, it betrays a much greater love of sunshine, a much more hearty yea-saying and positive attitude towards life. And these reasons are independent of the fact that the painting of both Greece and Egypt in their best period are based entirely upon colour and line technique free from all values and chiaroscuro.
Compare Van Gogh’s pictures of this period with any of those ridiculously funereal fiascos produced by the Glasgow school within the last twenty-five years, and you will be convinced of the difference between the bright, laughing, yea-saying attitude to life, and the dark, gloomy, negative, churlish, Puritanical, and, in many respects, essentially British attitude to life.
How sincere and how deep Van Gogh’s love of colour was at this period may be judged from a note written in August 1887 to his brother. He says: “I am at work upon a portrait of our mother; as I could no longer endure the sight of the black photograph. I do not wish to possess black photographs, and yet I certainly wish to have a portrait of our mother.”[8]
The fact that, occasionally, his whole-hearted devotion to colour led him to produce what I cannot help regarding as an absolute failure, cannot, of course, be denied. More than once, at Cologne and Amsterdam, I was conscious in the presence of some of his pictures of being before a man who was trying to enjoy the glory of fireworks at midday, under a brilliant sun, and the result was naturally disappointing. I cannot, however, say that I had this feeling often. By far the worst examples of such failures (although I am sure their fanatical owners do not think so) are the “Cornfield with the Reaper,” belonging to Frau Kröller, the “Sunflower against a Yellow Background,” belonging to Frau Cohen Gosschalk-Bonger, and “A Cornfield in Sunshine,” at the Amsterdam Museum of Modern Art.[9]
And now I am going to express what will perhaps seem to many the most daring of all the views advanced in this essay, the view that Van Gogh, towards the end, became quite positive not only in his attitude towards life itself, but above all in his attitude towards man. After much tribulation, and the gravest and most depressing doubts, he at last realized this fundamental truth, that art, sound art, cannot be an end in itself, that art for art’s sake is simply the maddest form of individualistic isolation—not to use a less sonorous but more drastic term—and that art can find its meaning only in life, and in its function as a life force. The highest art, then, must be the art that seeks its meaning in the highest form of life. What is the highest form of life? Van Gogh replies to this question as emphatically and uncompromisingly as every sane and healthy artist has done in all the sanest and healthiest periods of history. He says “Man.”
Now all that he has acquired—art-forms, technique, stored experience, practised observation—is but a means, a formidable equipment which he is deep enough, artist enough, human enough, to wish to lay at the feet of something higher. Now his storehouse of knowledge becomes an arsenal which he consecrates solemnly to the service of a higher cause and a higher aim than the mere immortalizing of “decorative pages of colour”—“interesting and strong colour-schemes” and “exteriorisations of more or less striking impressions.” When these things are pursued as ends in themselves, as they were by the Impressionists and the Whistlerites, they are the signs of poverty, both of instinct and intelligence. They are also signs of the fact that the mere craftsmen, the simple hand-workmen, or the mere mechanic—in other words, the proletariat of the workshop, has been promoted to the rank of artist, and that matters of decoration, technique and treatment (which are fit subjects for carpenters, scene-painters, and illustrators to love and to regard as the end of their mediocre lives) have usurped the place of higher and holier aims.
In about as many years as it takes some painters to learn their palette, Van Gogh had learnt the great and depressing truth at the bottom of all the art of his age—the truth that it was bankrupt, impoverished, democratized, and futile. Divorced from life, divorced from man, and degraded by the great majority of its votaries, art was rapidly becoming the least respected and least respectable of all human functions.
He realized that art was an expression of life itself, that pictorial