The life and masterpieces of Van Gogh?

Category: Culture/Art>> Calligraphy, Painting and Art

Analysis:

Vincent van Gogh (1853～1890) was born in the Netherlands Born into a Protestant pastor's home in the town of Zandert, before the age of 24, he worked as a clerk in Goupil's painting shops in The Hague, London, Paris and other places. Later he became a missionary and preached in the Borinage mining area in southwestern Belgium. He was dismissed because of his sympathy and support for the requirements of the poor miners. After living a life of extreme disappointment and poverty, he decided to achieve his own liberation through the exploration of art. After 1880, he studied everywhere, seeking advice from the Royal Academy of Fine Arts of Belgium and the Dutch landscape painter Anton Moff, but in the end he decided to teach himself. He overcame various difficulties and tried to express the world according to his own understanding. Before 1886, his works were still in a period of exploration. His representative works include "The Potato Eaters" and "The Weavers". In 1886, Van Gogh came to Paris with his younger brother, who was a senior staff member of Goupil's painting shop, and met Toulouse-Lautrec, Gauguin, Pissarro, Seurat and Cézanne, and joined the Impressionist Painters Association. Our ***. This greatly broadened his artistic horizons, and he began to paint in a completely different way from the past, with strong colors and bright tones. In February 1888, he and Gauguin went to Arles in southern France to sketch and paint for a year. This was the most important period in the formation of his artistic style. The strong sunshine of the South and the towns, fields, flowers, rivers, farmhouses and churches illuminated by the sun made him unable to help but shout over and over again: "Brighter, brighter." Some!"

He and Gauguin had already diverged from the views of Impressionism, but at the same time they had a strong interest in Expressionism or Symbolism. Therefore, there were plans to establish "Southern Impressionism" or "Impressionist Secession". Later, because the relationship between the two deteriorated, Gauguin left, and Van Gogh gradually suffered a mental breakdown after the incident in which he cut off his own ear. Therefore, they did not form any group. In 1890, after a long-term hospitalization in the Demosol Mental Hospital in Saint-Rémy, and after his condition improved slightly, Van Gogh returned to Paris and lived in Auvers-sur-Oise, receiving specialized treatment from Dr. Gasset. He also painted diligently, including "Portrait of Dr. Gasset", "The Church of Orwell", etc. However, on October 27, 1890, after a quarrel with Dr. Gasser, he suddenly shot himself and ended his life.

Van Gogh left a wealth of works throughout his life, and it was not until after his death that he was gradually recognized by people. In these works, the author prominently pursues the expression of his own spirit, and all forms jump and twist under the intense spiritual control. ‘Such art had a profound influence on expressionism in the 20th century, especially Soutine and the German Expressionist painters, who absorbed many important principles from the works of Van Gogh. He is the greatest Dutch painter with worldwide influence after Rembrandt. However, while he was still alive, he only sold one painting a year.

1. The Fired Missionary

When everything seemed to be going smoothly, something happened that greatly frustrated Van Gogh. In 1847, Van Gogh fell in love with Ursula, the landlord's daughter. But the girl didn't care that this dull Dutch young man married someone else. The pain of first love humiliated Van Gogh's soul, his character became melancholy and irritable, and his life entered a period of wandering.

After falling out of love, Van Gogh became increasingly taciturn. Lonely, he gradually turned to religion at this time, deeply immersed in the sacred thoughts that transcended individual life, and had no intention of working as an art dealer. In December 1875, he quietly returned to his hometown alone. He was fired the following spring. After that, Van Gogh moved to Paris, Ramsgate (UK), Brussels and other places, working as a shop assistant, teacher and apprentice. During this period, he saw the poverty of the lower class people and sympathized with them. In order to "comfort all the unfortunate people in the world" he placed his hope on religion.

In 1877, Van Gogh went to Amsterdam to prepare for the entrance examination to the seminary. He studied hard, spending 18 to 20 hours a day studying very esoteric doctrines and Greek verb conjugations. But the difficult homework deeply affected Van Gogh. "I only hope to bring peace to the poor, give them happiness in life, and make them content with their work. I want to do this, but why do I have to go through so much frustration and pain?"

While studying in Amsterdam, Van Gogh tried his best to realize his wish to be a priest who saves the miserable souls of mankind, and on the other hand, his interest in painting increased day by day. He often reads Art magazine and often visits art galleries. The works of art masters such as Miller and Rembrandt impressed him deeply. He began to copy their works and often went to the wild to sketch. But this kind of learning brought ambivalence to Van Gogh. The desire to put the world on canvas and the desire to dedicate himself to preaching were like two raging fires surging within him. Although the latter (preaching) temporarily suppresses the former (painting), when the two merge, the desire for painting becomes a strong flame that burns blazingly. However, before they can be reunited, they still need to go through many twists and turns and suffering.

Whenever Van Gogh thought that his ideas were out of line or that he had neglected his obligations, he would use self-punishment: lying on the bed and hitting himself on the back with a stick. Soon, Van Gogh went into self-imposed exile, moved to a simple room without any furniture, and gave away beautiful clothes and other things to others. This tendency of self-punishment recurred faintly and periodically in Van Gogh's later life.

In 1876, tired of studying, Van Gogh returned to Eden and was determined to become a painter. His cousin Catherine, who was newly widowed, was living in his home at the time. Van Gogh fell in love with this cousin very much and proposed to her. But Catherine was frightened by Van Gogh's passionate love and fled back to her parents' home. Unwilling to give up, Van Gogh chased her to Amsterdam, stuck his hand into a kerosene lamp, and begged to see her. Later, Van Gogh lived with *** Sheehan in The Hague. Even though he knew that her behavior was extremely inappropriate, he still gave her everything, even cutting off his ears in Al, and finally ended his life tragically in Of. life. These behaviors of the same nature all reflect Van Gogh's strong tendency to commit suicide. This tendency is not only born from the fanaticism of religious belief, but also to resist the unreasonable and secular laws of society. Van Gogh's self-punishment reflects his powerlessness against reality. This also created his almost terrifying, passionate and persistent emotions.

Until now, many people still think that Van Gogh is an unusual genius. But looking back on his painting process and carefully reading a lot of letters he left behind, we can know that Van Gogh fulfilled his duties. The principle that a person should abide by is to be honest with oneself. His madness and suicide did not in any way damage his pure spirit. Unfortunately, the only one who always relied on him and believed in his sincerity was his brother Theo.

After a brief stay in Eden, Van Gogh came to Brussels to study at the Missionary School. In December 1878, with the help of his father, Van Gogh arrived at "the place where fire and minerals sleep together in the interior of the earth" - Borinage. He gave Bible lectures, visited poor families, and gave lectures to children. He said in a letter: "The scenery of Borina is as beautiful and unique as the picture. There were continuous gloomy days before Christmas, and it snowed in the past few days. These scenery and houses are reminiscent of medieval paintings. Or paintings that remind people of the contrasting effects of strong colors such as red and green, black and white." The letter expressed his enthusiasm for missionary work and his innate vision as a painter. In January of the following year, the Brussels Committee accepted his application and allowed him to temporarily serve as a missionary in Wamu Village for a period of six months. Van Gogh was very happy. In this mining village, he took his early life in Christ as an example and was willing to dedicate everything he had to the poor people. He lived frugally and tried his best to help the miners. When accidents occurred in the mines, he tended to the wounded; when typhus was prevalent, he nursed the sick. Despite this, Van Gogh's noble character was ridiculed by the church organization as asking for trouble, and he was eventually fired for being inconsistent with the church's rules.

2. Picking up the paintbrush again

The sudden blow shocked Van Gogh, but he also woke up, and he began to reflect on himself. Walking on the desolate wilderness where it rained coldly on Bolina day, he deeply felt that there was something inside him. In the extreme depression, the religious fanaticism slowly disappeared, and what followed was the passion for painting that was flowing in his mind. This passion was surpassing all other feelings and was about to burst out. "I want to stand up again. Everything in front of me has changed. My pencil is getting easier and better to control day by day."

In 1880, after careful consideration, the 27-year-old Van Gogh He resolutely gave up his "priesthood" and decided to pick up his painting brush again and use artistic creation to save poor people. Although this plan was strongly opposed by his father, it received full support from his younger brother Theo, who worked in an art shop. At the end of the year, Van Gogh came to Brussels and began to teach himself art. The following year, he became a disciple of The Hague painter Mauv and received formal training. Van Gogh, who had always been impatient and irritable, studied very patiently. He is hardworking, determined, conceptual and planning. He always makes many paintings on one subject. From his series of still life paintings we can see how carefully he tried to replace light and dark with color relationships. The work "Crowds Entering and Exiting the Newnan Church" (1884) embodies Van Gogh's sensitivity to light. The dynamics in both horizontal and vertical directions, and the strong contrast between light and dark, emphasize the symbolic effect of light. In the painting "Girl in the Forest" (1882), "the reddish-brown ground covered with fallen leaves is variegated and bright due to the shade of the trees..." The natural beauty deeply moved Van Gogh. He painted everything in front of him with a brush full of strong emotions.

Van Gogh knew what he wanted to paint and what he wanted to express from the beginning. What he lacked was that he could not paint what he wanted to paint at will. The shape and beauty of the surface are not the main goal of painting. What he wants to paint is the posture of the laborers who are working hard, and the sweat, movements and expressions of the people fighting against the earth. These were farmers, coal miners, snow plows, straw pilers, and other working people. He wanted to paint all their gestures and movements. For him, "depicting the movements of workers" is "the core of modern art." He is not afraid of breaking the rules or exaggerating or distorting, and his desire is to accurately capture his movements and postures. He copied Miller's "Plowing" and "Four Hours of a Day". He wanted to inherit Miller's unfinished work and wanted to paint "something that Miller would also understand."

At the beginning of exploring his personal artistic path, Van Gogh implanted his sincere sympathy for the working people into his works.

At the end of January 1882, Van Gogh met a 30-year-old woman with pockmarked face, alcoholism, mother and pregnancy - Christine Maria Horuniku ( Theon). Van Gogh was very sympathetic to her rough experiences and poor living conditions. He devoted all his love to this woman and used him as a model for a lithograph called "Sorrow." Van Gogh tried to live with her mother, but she still left.

In 1883, after ending his cohabitation with Theon, Van Gogh left The Hague for Drenthe. He stayed for a few days in New Amsterdam, where peat huts and poor farmers could be seen everywhere. The misty horizon and peat mountains, the working peasant woman, the lavender and white sky and the stormy heavy clouds, Van Gogh left all of this in his painting "Peasant Woman in the Field" (1883). It is a portrayal of Van Gogh's mood in finding self-comfort and faith in life in the silent wilderness. This makes the work deeply religious, and it is not difficult to see the shadow of Miller's "Evening Bell" in it.

In 1883, Van Gogh returned to Newnan, where his father worked as a church. During his two years in Newnan, he continued to improve his sketching skills. Influenced by the Dutch realist painting style, his paintings were dark and full of local flavor. "Farmers Eating Potatoes" (1885), which was painted during this period, is the culmination of many sketches of farmers that Van Gogh painted. To complete this work, he made two studies with the same composition. There is one sketch and one sketch each. He also made many portraits of farmers and peasant women, some indoor still lifes and sketches of hands. The picture adopts Rembrandt's light concentration method and uses wild brushstrokes to emphasize the figure and posture of the characters. He focused on the emotion expressed in the picture rather than the interrelationship of colors. "I want to clearly illustrate how those people eat potatoes under the light and cultivate the land with their hands on the plate..." In this image of the "Holy Communion" of a farmer, Van Gogh ignores the modern taste of urbanization and uses sincere Emotions draw the beauty and strength of honest farmers. It is not difficult to see that at this time Van Gogh was yearning to become a "peasant painter".

From the Newnan period, Van Gogh gradually became aware of the mystery and subtlety of color. At the end of November 1885, Van Gogh went to Antwerp, where waiting for him were the bright and bold tones of Rubens and the updated color language that could be seen in Japanese Faust-e prints. During the three months, he immersed himself in study like crazy, appreciated the elegance of Rubens, came into contact with Japanese Faust prints, and was attracted by the vitality of the port city of Antwerp. The deep colors begin to become clearer, the brush strokes become larger, and I begin to pay attention to the beauty of contrast. This is the awakening of color. Van Gogh was about to leave for Paris, the capital of art that was undergoing a liberation of color. It was also at this time that Van Gogh made his first self-portrait. Since then, he began his famous self-examination.

3. Paris·Impressionism

In early March 1886, the 33-year-old Van Gogh arrived in Paris. He was greatly shocked by the free artistic atmosphere and bright Impressionism in Paris. He realized that there was a big gap between the art world in front of him and the creation he was doing. He was eager to understand Impressionism, and therefore appeared restless and restless. Through Theo's introduction, Van Gogh met a group of Impressionist painters and discussed new painting techniques with them. Van Gogh's blood boiled when he saw that his works were filled with bright colors just like them, capturing the instant changes under the sun. He believes that "new concepts have emerged, and paintings with a completely different tone from those a few years ago have been painted."

In Paris, the capital of art, this sharp-eyed, solitary man Young people were baptized by Impressionism. The Impressionist movement had reached its peak since its first exhibition in 1874. Monet, Pissarro and Sisley each formed a family. They denied the inherent color of objects and relied only on their own visual experience to reproduce things in the picture. This painting theory profoundly influenced Van Gogh. Although Van Gogh, who first arrived in Paris, had not completely escaped from the dark tones, his brushstrokes gradually became lighter. He studied the contrast and disharmony of colors, learned new methods of color segmentation and sketching, and gradually developed artistic creations that surpassed the realm of others.

Van Gogh's works of this period are characterized by strong and bright Impressionist colors, and the mysteries of Neo-Impressionism (Pointillism) are also integrated. For example, in "On the Seine", a painting similar to Pissarro's style, Van Gogh showed his comprehensive mastery of the synthesis of light and the effect of light and shade, and also reflected his preference for strong colors. For example, in the painting "Uncle Tangji" (1887), dark blue and reddish brown contrast with each other, and the background is a gorgeous Faust painting. The tone and chroma seem to be too strong. The painting "Paris Landscape" has not yet broken away from the gray tones mixed with complementary colors, while the painting "Bouquet" is Van Gogh's representative work of learning Impressionist techniques.

Since his Antwerp period, Van Gogh has been keen on Japanese Faust paintings. In Paris, Van Gogh often visited a gallery specializing in Faust paintings. In this center of "Japanese interest", Van Gogh carefully studied the collections here and made many copies. Among them, he most likes the works of Japanese painter Hiroshige. He copied Hiroshige's "Kameido Plum House Shop" and wrote "Japanese Interests (Plum Trees)" (1887).

Although this is a copy of the painting, the red of the sky and the green of the earth are more emphasized than in the original painting, and the lines of the plum tree branches are bolder and stronger. Another copy of the work "Bridge in the Rain" (1887) changed the gray color of the sea in the original painting to green, thus disappearing the sense of depression in the original painting. Van Gogh drew characteristics from Faust paintings. On the basis of maintaining his individuality, he learned from others' strengths and began to form his own unique artistic style, and then stood at the forefront of modern painting.

Life in Paris was bohemian. The diverse art forms and chaotic urban life made Van Gogh feel uneasy and isolated. He drank excessively, acted out, behaved aggressively, and looked extremely allergic. Even so, he is still diligent in creating. "Girl at Tambourine Cafe" (1987) was painted during this period. The woman in the painting is talking about Augustina Segaduli, the female owner of the coffee house where Van Gogh often visited. The juxtaposition of subtle brushstrokes and colors in this painting shows Van Gogh's tendency toward pointillism.

Van Gogh, who possessed the brilliant colors of Impressionism, had strong emotions waiting to be vented in his heart. Living in gloomy Paris, he yearned for the hot sun every day and yearned for a brighter place. Because in his heart, there is ten times the passion of the sun, and it is in urgent need of a ball of fire to ignite it.

4. Sunshine in Arles

In February 1888, Van Gogh arrived in Arles, southern France, and was immediately intoxicated by the beautiful scenery of Arles where the winter snow melted and the earth returned to spring. In Arles, Van Gogh, who got rid of the Impressionist "Objectivist" method of depicting nature, relied on his personal feelings to create to his heart's content. In less than three months, Van Gogh painted more than 200 works. This is almost the total of the works he painted during his two years in Paris. At this time, Van Gogh's talent was fully revealed, and his own melody and the melody of nature have become one. In the sun-drenched wheat fields, Van Gogh was as happy as a cicada. He worked hard from early morning to dusk every day. Facing the sunny Al, Van Gogh's thinking was extremely active. His painting techniques have undergone tremendous changes: he no longer focuses all his attention on plot themes, but only considers how to paint. "The Suspension Bridge in Arles" ("The Bridge of Langlois" in 1888) is Van Gogh's first masterpiece in Arles. The suspension bridge has a clear outline with the blue sky as the background; the river is also blue, and the river bank is almost orange; there is a group of women wearing bright coats on the bank; a carriage is passing the suspension bridge. The whole picture has fresh colors and presents a spring scene, which fully reflects Van Gogh's fulfilling and joyful mood in his busy life. In the painting "Vegetable Garden" (1888), the pastoral scenery and harvesting scenes in the suburbs of Arles were put on the canvas. The strong color contrast and accurate perspective make the picture stable, fully expressing Van Gogh's peaceful and confident mood in the embrace of nature. This painting is no longer like the Impressionists, where the colors are spread out in large areas, from near to far in perspective. Although the colors are strong, the whole picture is smooth, bright, and full of rhythm. This form, which originated from Impressionism but was different from Impressionism, greatly mobilized the painter's subjective initiative in creation, led to the use of expression techniques and the development of new areas of expression, and made Van Gogh a representative figure of late Impressionism.

The summer in the south was very hot, so Van Gogh stayed at home and painted some portraits and works such as "Cafe at Night" (1888) and "Sunflowers" (1887). "Cafe at Night" describes the all-night café in Lankasan where Van Gogh stayed. He felt that the night was more full of vibrant colors than the day, so he often went outdoors to paint stars. In this painting, the orange ceiling and the dark blue starry sky form an inverse contrast, seeming to express the contrast between the two themes of hope and regret, longing and dissoluteness, vaguely hinting at Van Gogh's own complex and restless spirit and uninterrupted desire. ***.

The sunflower is Van Gogh's idol, the light of the sun, a symbol of light and heat, and a portrayal of the emotional fire roiling in his heart. This kind of sun growing on the earth is called the rotating sun in French and the flower of the sun in English. Van Gogh's love for it and his pursuit of sunshine in the south is a longing for the rotating and hot celestial body, and he tried to capture the sense of weight rotating from the center to the surroundings. "Fourteen Sunflowers in a Vase" is mainly yellow, with some cyan and green, playing a symphony of yellow and green. The picture uses decorative arrangements and is full of vitality due to the powerful brushstrokes. It is a masterpiece among similar works by Van Gogh.

Van Gogh's portraits in Arles, such as "Girls in Arles" (1888) and "Ladies in Arles", are full of sunshine and bright tones, expressing simplicity and solidity. Van Gogh observed life with a pure heart and painted objects based on his own feelings. In the painting "Mr. Luland, the Postman" (1888), Van Gogh used navy blue as the main tone and used black lines to emphasize the wrinkles of the clothes. The gold buttons on the uniform sparkled like stars. The brown and soft beard dilutes the rigor caused by the uniform, giving the figure in the painting a priest-like and sacred feeling. Looking closely at these portraits, the breath, body and aura of the models are clearly expressed.

5. The lonely "House of Friends"

Al's Van Gogh is full of confidence. Despite the extremely difficult material life, he still fantasized about building a substantial artistic life. In order to make a living and build a spiritual fortress, Van Gogh dreamed of establishing a new school of colorist painters in Arles, namely the "House of Friends" ("Future Studio").

In 1888, Van Gogh sent invitations to friends as far away as Paris and Brussels, hoping that the artists would come to Arles and work together to create the most beautiful pictures in the world. Unfortunately only Gauguin arrived in Arles on October 20.

In the first few weeks, the two people's living together was relatively harmonious. By November, they often had disputes over different opinions on painting. At this time, Gauguin began to use black outlines to outline the outline of the painting, and then used color surfaces to process it, which was full of decorative taste. Van Gogh's character was passionate and he used his own feelings as the only guide. Gauguin didn't like Al either. He longed for a more primitive life. Two stubborn people began to confront each other over their respective artistic opinions.

In December, Van Gogh painted "Van Gogh's Chair". There was no one around the chair, conveying a deep sadness. Probably Van Gogh had realized that Gauguin was about to leave, and that he would fall into a lonely situation without joy or controversy. The "House of Friends" was obviously a failure. This heavy blow, coupled with nearly nine months of frenzied creation, made Van Gogh, who was in extreme physical and mental weakness, finally cut himself off after another quarrel with Gauguin. He put the severed ear into an envelope and gave it to Al's wife, Lan Xiuer, asking her to "keep it well." Gauguin asked Van Gogh to be hospitalized and sent a telegram to Theo, asking him to come immediately while he returned to Paris. When Theo arrived, Van Gogh was in a state of severe hysteria and was soon sent to a mental hospital.

In January 1889, Van Gogh was discharged from the hospital. He "hoped to do some things he wanted to do here (Al), and when the spring flowers bloom, he would paint some orchards." During this period, Van Gogh created "Self-Portrait Smoking a Pipe" (1889), which is a very representative work among his self-portraits. In the painting, the red and orange background, the blue toque and the green coat are all in solid colors. The skin is brown with yellow and purple reflections. These colors are highly contrasting yet incredibly harmonious. The colors are pure, bright, and full of life, and the entire image appears saturated. But even so, this painting is by no means a reflection of Feng Gao's psychological stability after being discharged from the hospital. Rather, it is a reflection of the awareness of others' glares, the heavy psychological burden he carried when facing Theo and Gauguin, and the anxiety caused by the fear of recurrence of the disease. and fear, the expression of all kinds of complex mentality. Self-portrait is one of the most distinctive features of Van Gogh's painting art. Van Gogh used his own brush to describe the moments of life, gazing at and expressing himself completely truly. If Van Gogh's self-portraits are divided by period, they are roughly listed as follows:

Antwerp period

1 1885

Paris period

7 paintings in 1886

1 painting in the spring of 1887, 16 paintings in the summer and 5 paintings in the autumn

1 painting in 1888

Al period

1888 1 painting in summer, 3 paintings in autumn, 1 painting in winter

2 paintings in the spring of 1889

Saint-Rémy period

3 paintings in the autumn of 1889

From Judging from the time of creation, the summer of 1887 was the most fertile period for creation. At that time, Van Gogh was in the state of shock when he first arrived in Paris. His examination of the external world turned to his gaze on himself, and he constantly explored his inner world to balance his inner feelings.

Van Gogh vented his inner loneliness and uneasiness by blaming himself and hurting himself. His enthusiasm and enthusiasm are often accompanied by excitement and recklessness, and his personality is characterized by impatience and straightforwardness, which makes him always isolated from the crowd. So, he kept examining himself. This is why he created 42 self-portraits in just three and a half years. He ruthlessly dissects and explores himself in this way, which makes him feel more uneasy and lonelier.

6. "Pain is life"

His enthusiasm for art made Van Gogh almost crazy in life. In early February 1889, Van Gogh's illness broke out again. On May 8, Van Gogh came to the Saint-Remy Psychiatric Sanatorium, 25 kilometers away from Arles. Here he painted the hospital garden, the guards, and the scenery outside the window. He incorporated his alternating hope and despair and various feelings about life into his paintings. The colors, brushstrokes, and composition all reach a breathtaking level.

"Yellow Wheat Field" (1889) depicts the scenery outside the window of the sanatorium. There are no straight lines in this painting. All objects are curled and gushing. The golden undulating wheat fields and flaming cypress trees give people a happy feeling of swaying in the breeze, but the white clouds and pink-green The opaque sky formed by the canopy is thick and depressing. The whole picture seems contradictory and worrying.

Van Gogh stayed in the sanatorium until May of the following year, during which time his condition recurred. During the attack, the whole person falls into panic and sometimes swallows paint or oil, or even takes poison. After the attack, he was completely calm and his mind was very clear. He worked hard to paint as soon as he was allowed. The works of this period are completely different from those of Al's period. The yellow symphony that dominated Al's period disappeared, replaced by a profound love for life. The lines become concise, strong, and thick; the rhythm of curves and spirals dominates the painting. The earth, sky, starry night, and trees all present a dizzying sense of movement.

"Starry Night" (1889) is a masterpiece of Van Gogh's color symbolism. In the rolling sky, the stars swirled like a giant dragon, the crescent moon became a whirlpool, the dark green cypress trees surged from the depths of the earth like a flame, and the church spire stretched uneasily into the sky. Van Gogh changed the traditional modeling method, and also changed the observability of Impressionism in terms of color, emphasizing the expression of subjective feelings. This is in line with the purpose of Van Gogh's painting: painting should not only be satisfied with the depiction of the external image of things, but should also express the artist's subjective opinions and emotions while depicting nature based on feelings, so that the work has individuality and unique style. "The Hill of Saint-Remy" (1889) is a work with great personality of Van Gogh. The brush strokes depicting the hills form a series of bends that appear to emerge from the earth. Although "the mountains are not as thick as mountains, the outlines are... but the lines are vivid, strong and powerful. Even if they are a bit exaggerated, it is still a good painting." (Van Gogh)

During this period, Theo and his wife were born. A boy was born; art critic Olivier wrote the first review about Van Gogh; "The Red Vineyard" was sold, which was the only work sold by Van Gogh in his lifetime. However, these good news did not make Van Gogh's mood truly clear. In addition, as his condition continued to worsen, Van Gogh prepared to leave the hospital environment.

In 1890, Van Gogh returned to Paris and was entertained for four days in the apartment of Theo and his wife. On May 17, Van Gogh moved to Auvers, not far from Paris, and was taken care of by Dr. Jachet, who cared about Impressionist painters. Van Gogh lived above the cafe in the square in front of the town hall, and got along well with his roommates. People around him didn't know he was from a nursing home. Van Gogh's mood calmed down for a while. He painted many portraits of Dr. Jachet and his daughter, as well as local village and camp scenes. The pleasing blue reappears in the painting. The curved and undulating lines of the work "Thatched Cottage" (1889) are more free and broad than those in the Saint-Rémy period; the lines are full of rhythm like music; the brushstrokes are sometimes strong and sometimes weak, and the priorities are very comfortable. The beautiful place of Ofer made Van Gogh feel like he was at home. However, this peace and tranquility did not last long, and sadness and depression swept over my heart again.

A work with strong tragedy was born. They are two works that foretell the coming of death - "Stormy Sky and Wheat Fields" (1890) and "Wheat Fields with Crows in Flight" (1890). Van Gogh once painted "Wheat Field with a Lone Bird in the Sky" (1887) in Paris. It is fresh and clear, and it is as if you can hear distant singing from the painting. "Stormy Sky and Wheat Fields" uses light tones to fully express the suffocation, anxiety and disappointment in reality. "Wheatfield with Crows Flying" uses strong and rich colors to depict the desolate mood of staring at the approach of death. Van Gogh's suggestive techniques are already very mature. Van Gogh's artistic career has reached its peak, and his life is coming to an end.

Van Gogh's heart was completely broken when he learned that his brother Theo, who had been supporting him, was in financial difficulties because of getting married and having children. "I will return the money to you, and now I will go find my own destination." After writing this text to his brother, on July 27, 1890, as usual, Van Gogh walked towards the wheat field with his easel on his back, and stood a few steps away from him. Next to the farmyard a few hundred meters away from where he stayed, he raised the pistol to his chest and pulled the trigger. The bullet missed his heart, and he staggered back to the bedroom. That night, Van Gogh held his pipe in his mouth and said nothing. The next day, he also talked about his artistic opinions with Theo who came to see him. In the evening, he began to feel weak and stopped breathing at midnight (1:30 a.m. on July 29).

"Pain is life", this was Van Gogh's last sigh.