A number of years ago, I read Lust for Life, a fictionalized account of Vincent van Gogh’s life. The factual parts of the book were based on the letters of Vincent to his brother Theo, which were translated by Theo’s wife, Johanna, and which their son (Vincent’s nephew) gave permission to Stone to edit and publish. Dear Theo was originally published in 1958.
Vincent wrote to Theo almost every day from June, 1873 until his death in July, 1890 (at 37 years old). Stone edited out repetition, unimportant details, and remarks that he had no context to interpret.
What is left is Vincent’s voice, with poetic descriptions of the landscapes and people whom he observed, the philosophies he lived by, his hopes and dreams, and his frustration and shame. Diagnosed later in life with epilepsy, there are hints that Vincent also may have suffered from Asperger’s and possibly bipolar disorder or schizophrenia. His obsession with minutia suggests an annoying personality.
Vincent could not hold a job. He started out working for an art dealer (the same one his Uncle Vincent and brother Theo worked for), but was unsuccessful there. He tried working in the ministry (like his pastor father), but failed there too.
When Vincent started drawing, he was determined to do it well. He practiced constantly, copying pieces by great masters and learning for himself how to draw from models. However, since he couldn’t seem to make a living, he depended on his brother Theo for money for rent, food, clothing, and art supplies. Theo faithfully supported Vincent for many years, both financially and emotionally, though it took a toll on him.
As Vincent turned to painting, he was aware that his style was different from other artists of the past and of his own time, but he trusted that his work would eventually find an audience. Unfortunately, that didn’t happen during his lifetime.
Vincent had one romance in his life, a cousin, whom he wanted to marry, but she refused.
He also had a relationship with an aging prostitute whom he met when she was pregnant with her second child. In his letters, he refers to her as Christine. He took her in, hoping to reform her, and enjoyed the domestic life. He wanted to marry her, which met with protests from his parents and from Theo.
During his early relationship with Christine, he mentioned her frequently in his letters, and his delight with her company and with the children is apparent. Then, all mention of her suddenly ceases, Vincent complying with his family’s demands that he cut ties with her. Later, he takes her in again, but refers to her in letters only as “the woman,” as though he doesn’t want to offend Theo by writing her name. Eventually she permanently disappears from his letters.
Vincent took interest in all the painters of his day, especially Paul Gauguin, whom he begged to come and share his apartment. Gauguin did stay with him for a time, but it did not end well. Vincent had a psychotic episode brought on by an altercation with him, in which he cut off his own ear, wrapped it up, and presented it to a prostitute at the local brothel. Gauguin took advantage of Vincent’s subsequent hospitalization by moving out. They never met again, though they continued to correspond.
Vincent dreamed of setting up an artists’ collective, where artists could live and work together. He wrote of it often, asking Theo’s help in making it a reality, but it never happened.
Dear Theo, subtitled The Autobiography of Vincent van Gogh, is not an easy read. Many of the letters contain apologies to Theo for depending on him so much, followed almost immediately by requests for more money. He sent most of his paintings to Theo, thinking that if Theo could sell them, he could be reimbursed for his support.
Vincent was a deeply tortured soul. Yet, I’m glad I read this book in his own words, because it gives such insight into this creative genius, whose work is beloved today.
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