Vincent Van Gogh: Trending quotes (page 2)

Source: Van Gogh

In a letter to his sister Willemien, c. 21 October 1889, from Saint-Rémy-de-Provence, http://vangoghletters.org/vg/letters/let812/letter.html
Vincent refers in this quote to his late painting 'Ward in the hospital'
1880s, 1889
Context: Now I'm working on [a painting of the hospital ward https://upload.wikimedia.org/wikipedia/commons/5/5d/Ward_in_the_Hospital_in_Arles.jpg. In the foreground a big black stove around which a few grey or black shapes of patients, then behind the very long ward, tiled with red with the two rows of white beds, the walls white, but a lilac or green white, and the windows with pink curtains, with green curtains, and in the background two figures of nuns in black and white. The ceiling is violet with large beams. I had read an article on Dostoevsky, who had written a book, 'Souvenirs de la maison des morts' and that spurred me on to begin work again on a large study that I'd begun in the fever ward in Arles. But it's annoying to paint figures without models. I've read another of Carmen Sylva's ideas, which is very true: when you suffer a lot – you see everybody at a great distance, and as if at the far end of an immense arena – the very voices seem to come from a long way off. I've experienced this in these crises to such a point that all the people I see then seem to me, even if I recognize them – which isn't always the case – to come from very far away and to be entirely different from what they are in reality..

Quote in Vincent's letter to Theo van Gogh, from The Hague, 3 June 1883; as cited in Stranger on the Earth : A Psychological Biography of Vincent Van Gogh (1996) by Albert J. Lubin, p. 22
Variant translation: For me, the work is an absolute necessity. I cannot put it off; I don't care for anything else; that is to say, the pleasure in something else ceases at once, and I become melancholy when I cannot go on with my work. I feel then as the weaver does when he sees that his threads have got tangled, the pattern he had on the loom has gone to the deuce, and his exertion and deliberation are lost.
As quoted in Dear Theo: the Autobiography of Vincent Van Gogh (1995) edited by Irving Stone and Jean Stone, p. 204
1880s, 1883
Context: The work is an absolute necessity for me. I can't put it off, I don't care for anything but the work; that is to say, the pleasure in something else ceases at once and I become melancholy when I can't go on with my work. Then I feel like a weaver who sees that his threads are tangled, and the pattern he had on the loom is gone to hell, and all his thought and exertion is lost.

In a letter to Émile Bernard, from Arles, June 1888, in 'Van Gogh's Letters', http://www.webexhibits.org/vangogh/letter/18/B06.htm
1880s, 1888
Context: There is no blue without yellow and without orange, and if you put in blue, then you must put in yellow, and orange too, mustn't you? Oh well, you will tell me that what I write to you are only banalities.

1880s, 1884, Letter to Theo (Nuenen, Oct. 1884)
Context: I tell you, if one wants to be active, one must not be afraid of going wrong, one must not be afraid of making mistakes now and then. Many people think that they will become good just by doing no harm - but that's a lie, and you yourself used to call it that. That way lies stagnation, mediocrity.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, You can't do a thing. The canvas has an idiotic stare and mesmerises some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of 'you can't' once and for all.
Life itself, too, is forever turning an infinitely vacant, dispiriting blank side towards man on which nothing appears, any more than it does on a blank canvas. But no matter how vacant and vain, how dead life may appear to be, the man of faith, of energy, of warmth, who knows something, will not be put off so easily. He wades in and does something and stays with it, in short, he violates, "defiles" - they say. Let them talk, those cold theologians.

1880s, 1880, Letter to Theo (Cuesmes, July 1880)
Context: I have often neglected my appearance. I admit it, and I also admit that it is "shocking." But look here, lack of money and poverty have something to do with it too, as well as a profound disillusionment, and besides, it is sometimes a good way of ensuring the solitude you need, of concentrating more or less on whatever study you are immersed in.

1880s, 1881
Context: Whenever I tell Pa anything, it's all just idle talk to him, and certainly no less so to Ma, and I also find Pa and Ma’s sermons and ideas about God, people, morality, virtue, almost complete nonsense. I also read the Bible sometimes, just as I sometimes read Michelet or Balzac or Eliot, but I see completely different things in the Bible than Pa sees, and I can't agree at all with what Pa makes of it in his petty, academic way.

In his letter to Theo, from The Hague, 22 October 1882, http://www.webexhibits.org/vangogh/letter/11/237.htm
1880s, 1882

1880s, 1884, Letter to Theo (Nuenen, Oct. 1884)
Context: I tell you, if one wants to be active, one must not be afraid of going wrong, one must not be afraid of making mistakes now and then. Many people think that they will become good just by doing no harm - but that's a lie, and you yourself used to call it that. That way lies stagnation, mediocrity.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, You can't do a thing. The canvas has an idiotic stare and mesmerises some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of 'you can't' once and for all.
Life itself, too, is forever turning an infinitely vacant, dispiriting blank side towards man on which nothing appears, any more than it does on a blank canvas. But no matter how vacant and vain, how dead life may appear to be, the man of faith, of energy, of warmth, who knows something, will not be put off so easily. He wades in and does something and stays with it, in short, he violates, "defiles" - they say. Let them talk, those cold theologians.

In his letter to Theo, The Hague, 11 March 1883, http://www.webexhibits.org/vangogh/letter/12/274.htm?qp=art.material,as translated by Johanna van Gogh-Bonger, edited by Robert Harrison, in The Complete Letters of Vincent van Gogh (1991)
1880s, 1883
Context: It constantly remains a source of disappointment to me that my drawings are not yet what I want them to be. The difficulties are indeed numerous and great, and cannot be overcome at once. To make progress is a kind of miner’s work; it doesn’t advance as quickly as one would like, and as others also expect, but as one stands before such a task, the basic necessities are patience and faithfulness. In fact, I do not think much about the difficulties, because if one thought of them too much one would get stunned or disturbed.
A weaver who has to direct and to interweave a great many little threads has no time to philosophize about it, but rather he is so absorbed in his work that he doesn’t think but acts, and he feels how things must go more than he can explain it. Even though neither you nor I, in talking together, would come to any definite plans, etc., perhaps we might mutually strengthen that feeling that something is ripening within us. And that is what I should like.