In remembrance of Vincent ⇒ Kirno Sohochari

There might have reasons for a man to think him impossible for living this strange world with true compassion. He came here for doing a service but finally realized he is out of that box which people mean service. This feeling once captured Vincent van Gogh’s mind with zealous intensity. The Dutch painter then wrote to his brother Theo:

What preys on my mind is simply this one question: what am I good for, could I not be of service or use in some way?” 

P5. Vincent van Gogh Self Portrait

Source: vincentvangogh.org: Self Portrait, 1889 by Vincent van Gogh

… Vincent was solid on his ground that when a man wanted to walk in the life he should think himself graced by the life God has given to him. Life is not for complaint rather it is for to feel the inner soul from where grace flourished.
… … …

Vincent’s question doesn’t mean he was incompetent for the service society wants, nor it means he was nescient about the usability of a man in the human society. He knew what is good for him and what kind of service he could offer to serve humanity. His offering indicates a man who is desirous to penetrate such normality which people think abnormal for living this paved life with artistry. He was desperate to achieve the reverse and was eager to walk on the unpaved road where life reminds the vicious jingle of uneven incidents, where blurry faces stained life, yet even it spontaneously germinates the true soul of Nature. The Dutchman was not a careerist in truth and that was a problem for his fellows who loved and cared him very much. No doubt, he was an idler on comparing to the service society offered and enforced him to perform. He was eager to see him in service, allowed his soul to celebrate the winsome taste of love and always positive in attitude that life is beautiful, even if sometimes it hurts and almost time tiresome for the folks who are destined to live it. 

History depicts Vincent van Gogh a lazybones who thinks he can do anything to serve humanity but it should have gone according to his own ways. This perception made him an idler; it enforced him to rewrite the easiest meaning of idler in a different context. He writes to his beloved brother:

There is a great difference between one idler and another idler. There is someone who is an idler out of laziness and lack of character, owing to the baseness of his nature. If you like, you may take me for one of those. Then there is the other kind of idler, the idler despite himself, who is inwardly consumed by a great longing for action who does nothing because his hands are tied, because he is, so to speak, imprisoned somewhere, because he lacks what he needs to be productive, because disastrous circumstances have brought him forcibly to this end. Such a one does not always know what he can do, but he nevertheless instinctively feels, I am good for something!

P7. Wheatfields under thundercloud, Vincent van Gogh

Source: vincentvangogh.org: Wheatfield under Thunderclouds, 1890 by Vincent van Gogh

… How the lazybones painted a robust amount of painting in his short lifespan with strange accuracy and artistry? The answer is simple,—he started his journey as an excavator, not literally, but he mentors himself how to read and how to dig this goofy life with a squat body and wounded soul.
… … …

Identify the eligibility of one makes life worthy; when anybody identifies ‘who he is and for what service’ it makes him confident, and from this moment he speaks for himself. Vincent burns his soul from to the beginning when the guardian of Christhood sent him to the coalmine for preaching religion as a volunteer. They think it could be the best way to teach this grumpy and short-tempered lad. The coal miners then appeared a boon to him, they helped him realize how to observe life and how it makes a man find his solo identity with natural intensity. 

Vincent was not passionate to discover his identity as a human being; rather he was eager to know how he can serve humanity as an idler of his time. The coal miners’ life in the thousand feet deep abyssal provoked him to think he is not capable to preach Christ’s compassion by sitting on the deep cave hole, but he can paint faces in the canvas and it may explain the true compassion of Christ better than the insipid priesthood. The meaning of idler was different in Vincent’s bible; it denotes the man who feels something precious is happening under his skin. He writes Theo:

My existence is not without reason! I know that I could be a quite a different person! How can I be of use, how can I be of service? There is something inside me, but what can it be? He is quite another idler. If you like you may take me for one of those.” 

A true artist is always an idler; he is not for service, rather he himself the service. Vincent timbered his mind listen in what his soul has called him to do. This temptation was his painting and that was his only self-defense against the so-called paved normality of life where no flowers sprout. He writes Theo:

Normality is a paved road: It’s comfortable to walk, but no flowers grow on it.” 

P8. landscape with pollard birches, Vincent van Gogh

Source: vincentvangogh.org: Landscape with Pollard Birches, 1884 by Vincent van Gogh

… He painted his canvas with whimsical radiant where one color replaced another as if they are coming from the illusory world. His mind-baffling experiments in canvas looked absurd in the first impression and soon it appeared toneless in his viewer’s eyes despite their radiant brightness!
… … …

What is normality? We usually accept this as an agreement; societal norms appeared there as a perimeter of personal freedom, so a person can take care of collective values which society thinks are essential for its own subsistence. Feeding, clothing, manners, artistry, perception, and thinking as well… all played an actor’s rule in that normality principle. Normality carries order and discipline where it tries to establish its own regime through neutralizing Nature’s regiment. Normality has to be paved limiting the natural order of things in the space; except for it cannot survive

A sprouting flower is natural and self-conscious to its own environment; however, when a person observed the flower he beautifies it along with the societal perception of beauty has remained for him. If he does the reverse, for instance, he colorized an object with contrasting colors what we’ve seen in Vincent’s still life paintings, flowers or landscape series, it then breaks the previous harmony and this called abnormality. Every true artist is abnormal in that sense. If there is no abnormality then there is no art. 

P9. A pair of shoes, Vincent van Gogh

Source: vincentvangogh.org: A Pair of Shoes, 1886 by Vincent van Gogh

… True compassion for humans could be the best defense for an artist but contrary it is suicidal for the man who appoints him to serve them. This was the battling point of Vincent’s life; he made his own definition of everything that he feels underneath his skin. He wanted to be the painter of wounded reality without making anybody a responsible for this and that was his impressionism.
… … …

When an artist painted night cafe or portraits people’s faces he is not manacled to paint what he sees, rather it is mandatory for him to paint what yet remain behind the scene which his eyes have missed on this moment. Painting is not the reverberation of normality we’ve seen in our daily life; instead, it is a melodious tune of the unseen and unfamiliar abnormal. The painter is subjected to paint familiar faces in an unfamiliar way; whatever it could be, he is liable to draw people’s face, night cafe or sleepy boozer by settling them from the different perspective, so the birth of a new reality could possible. 

True art always crosses the limit of such reality what we’ve often used to think is normal for us; otherwise, it cannot ensure the birth of a new reality. An artist is the diehard fan of poetic imagination and his imagination makes him free. When Vincent shakes abnormality in his canvas, he then realized how an artist could make his own entrance into the reality and how he can exit from this. He explained it to Theo:

I am always between two currents of thought, first the material difficulties, turning round and round to make a living; and second, study of color. I am always in hope of making a discovery there, to express the love of two lovers by a marriage of two complementary colors, their mingling and their opposition, the mysterious vibrations of kindred tones. To express the thought of a brow by the radiance of a light tone against a sombre background. To express hope by some star, the eagerness of a soul by a sunset radiance. Certainly there is nothing in that of stereoscopic realism, but is it not something that actually exists?” 

9. Self Potrait, Vincent Van Gogh

Source: vincentvangogh.org: Self-Portrait with Bandaged Ear and Pipe, 1889 by Vincent van Gogh

… Vincent’s self-portraits might be the most disturbing and uncomfortable event in the history of modern art. They remind life is not easy to handle with care; it as well painful for the man who thinks it brightened like Daffodils or Sunflowers and he can hug it with affection; more above, it demands sacrifice who wants to embrace this life with compassion and love. His self-portraits are hard to enjoy because they mirrored the pain and sufferings of life with stoical depression, where they tried to hide the ultimate emptiness with smoky pipe and bandaged ear.
… … …

Then appear the eternal moral question: what is love? The answer is simple in Vincent’s Bible:—love is the true affection of precious; leastways what you think is precious for you. Let consider the second question: how one decide which is precious to him? Vincent’s paintings answer the question with clarity:—which freed you from the prison and liberated your soul by taking the burdens that are responsible for this imprisonment. Human life is a game of suffering and it might not come from God or Devil. People often think earthly suffering is essential for late reward, but this is not true. No reward or punishment waits for anybody, nor any unforeseen event will happen later or after. The incident that happens will happen here. This earthly world is the highland of life and death and rest is blurry for the assumption. An abyssal drama of immeasurable stars leads us to the life and eventually it dissolved in there. Ergo, grief is meaningless but feeling pain for loving somebody or something else is worthy. 

Vincent taught his soul to love the golden Wheatfield where peasants weave life with care; his tender heart loves the grand landscape where folks take rest by lying on the haystack after work, and they sleep there like a boozy daydreamer; he tendered his soul to praise the night cafe and hustler house where everything is gonna become silent after the amusement; he as well taught him to glorify the yellow house where creation arrives as like rain arrives after storm; his imaginative mind melted him to love the bright stars in the sky when they flooded the bridge of Arles; he mentored his skin to feel joyous when Gauguin has appeared in the yellow house like a stranger, it seemed that he came from the out of nothing; and, he trained himself to brush on canvas hour-after-hour under the blazing sunlight or stormy wind in Southern France. This is affection and Vincent liberated his soul in this way where society forced him to live

P10. Peasant woman with black bonnet

Source: vincentvangogh.org: Peasant Woman with Dark Bonnet, 1885 by Vincent van Gogh

… He carried the true nature of Nature in his soul with deep impression and it helped him to realize how Nature begets the mesmeric world over again from to the lonely abyssal. He believed an artist should feel this creative pleasure when he brushed his canvas during the moment of creation. This approach made his paintings blissful; otherwise, his affection for impressionism killed him in the morbidity.
… … …

History relates Vincent van Gogh a great contributing artist on impressionism and pointillism; it told us how Millet, Delacroix, Corot, Troyon, Daubigny, Rousseau, and Daumier’s works influenced his painting style and color technique; the history of modern art described Gauguin’s dramatic love and rivalry with Vincent on the days of Arles;—however, what history often forget to mention, i.e., all those stories reflects a soul who was eager to liberate him from the prison that we mean ‘influence’. 

Vincent did not teach or inspired him to be influenced by other painters, rather he taught himself to love all this with true affection and it led him to paint this earthly world with intoxicated lunacy. The Dutchman was like a stormy violinist who is committed to play the most cheerful tune sitting on the deadliest lonely peak. Vincent was lonely in his life just like the melancholic jingle of lonesome stars. His loneliness was his muse and it drove him to catch the earnest moment when Nature sprouted itself over and again from the theatrical stage of death and decline.

He carried the true nature of Nature in his soul with deep impression and it helped him to realize how Nature begets the mesmeric world over again from to the lonely abyssal. He believed an artist should feel this creative pleasure when he brushed his canvas during the moment of creation. This approach made his paintings blissful; otherwise, his affection for impressionism killed him in the morbidity. Vincent really means it when he wrote Theo:

My dear Brother, -I am working like one actually possessed, more than ever I am in a dumb fury of work… Perhaps something will happen to me like what Eug. Delacroix spoke of, “I discovered painting when I had no longer teeth or breath.” What I dream of in my best moments is not so much of striking color effects as once more the halftones.” 

P11. Weaver, Vincent van Gogh

Source: vincentvangogh.org: Weaver, 1884 by Vincent van Gogh

… The painter is subjected to paint familiar faces in an unfamiliar way… True art always crosses the limit of such reality what we’ve often used to think is normal for us; otherwise, it cannot ensure the birth of a new reality. An artist is the diehard fan of poetic imagination and his imagination makes him free. When Vincent shakes abnormality in his canvas, he then realized how an artist could make his own entrance into the reality and how he can exit from this.
… … …

True compassion for humans could be the best defense for an artist but contrary it is suicidal for the man who appoints him to serve them. This was the battling point of Vincent’s life; he made his own definition of everything that he feels underneath his skin. He wanted to be the painter of wounded reality without making anybody a responsible for this and that was his impressionism. He believed life is simple when you think, “The lamps are burning and the starry sky is over it all.” 

Such feeling is enough for a man to walk in the forlorn road with an empty heart. Vincent badly injured his soul through loneliness and his intensity to love this world with an innocent dream and neurotic emotion destined him to take the lonesome burden in his shabby shoulder. His fault line was his raged emotion and it was careless to take the word ‘rivalry’ with enough caution. He was desirous to live this world like a dreamer, to think it a graceful bubble of glistening sunlight. This naivety makes his canvas vivid and miraculous where grief and animosity cannot stand long, where men’s faces appeared with Socratic pleasure to remind the emptiness and that is, —nothing will remain anymore when destruction happened.

Vincent’s self-portraits might be the most disturbing and uncomfortable event in the history of modern art. They remind life is not easy to handle with care; it as well painful for the man who thinks it brightened like Daffodils or Sunflowers and he can hug it with affection; more above, it demands sacrifice who wants to embrace this life with compassion and love. His self-portraits are hard to enjoy because they mirrored the pain and sufferings of life with stoical depression, where they tried to hide the ultimate emptiness with smoky pipe and bandaged ear. He once wrote:

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.” 

P12. The starry night over the rhone, Vincent van Gogh

Source: vincentvangogh.org: The Starry Night Over The Rhone, 1888 by Vincent van Gogh

… Vincent did not teach or inspired him to be influenced by other painters, rather he taught himself to love all this with true affection and it led him to paint this earthly world with intoxicated lunacy. The Dutchman was like a stormy violinist who is committed to play the most cheerful tune sitting on the deadliest lonely peak. Vincent was lonely in his life just like the melancholic jingle of lonesome stars. His loneliness was his muse and it drove him to catch the earnest moment when Nature sprouted itself over and again from the theatrical stage of death and decline.
… … …

History testifies Vincent was eccentric in nature, but he never treats anybody his rival; rather it was easier for him to cut his ear or told Theo to admit him in the mental asylum or shoot himself in the stomach like the amateurish killer; and he did all this to avoid the chance of rivalry with the world. He knew nothing is easy for him except love people with earnest craving, but peoples are not prepared to welcome this harmless man warm-heartedly. He was unfamiliar to them due to his lifestyle and introvertism. Vincent was not a smart person if we consider society’s perception on smartness and so on. He painted his canvas with whimsical radiant where one color replaced another as if they are coming from the illusory world. His mind-baffling experiments in canvas looked absurd in the first impression and soon it appeared toneless in his viewer’s eyes despite their radiant brightness! 

This feeling was hard to carry for the viewers who are used to appreciate paintings as a reflection of synchronized reality what they’ve seen in the renaissance’s paintings. He was not hostile to anybody but his addiction to whimsy yellow or naive blue represents a completely different world and it was very unusual to the art lovers of his time. Vincent draws real things in the most unfamiliar ways and his time was not matured enough to realize this. He never made anybody his rival but his perception of art made him a rival who met him. Today it heard shocking to us but people did not hesitate to make laugh with this bearish looked artist where teenagers appeared as ruthless teasers for him. It was very tough for Vincent takes this entire burden in his fragile shoulder. 

13. Reclining nude, Vincent van Gogh

Source: vincentvangogh.org: Reclining Nude, 1887 by Vincent van Gogh

… Vincent was not passionate to discover his identity as a human being; rather he was eager to know how he can serve humanity as an idler of his time… The meaning of idler was different in Vincent’s bible; it denotes the man who feels something precious is happening under his skin.
… … …

Hostility was coming as a death angel to the idler who was eager to free his married brother taking his burden for the rest of his life. Mental asylum was might be the only place where Vincent can protect his humanity and his whimsical love for yellow and blue. Nowadays we know Vincent’s asylum days has appeared a boon to him where he painted his masterpieces one-after-another with enthusiastic passion and steadiness. Asylum is not a tranquil place for human beings but Vincent made it tranquil for him where nobody can tease him and nor anybody is there who left him to think that he is an unfit or impossible companion. Society treat mental illness a disease and Vincent had guts to think he needs space to rethink about this madness; his days on asylum helped him to remove the dreadful fear that he is not alone in this world, there are people who are hallucinated like him. He wrote Theo:

I have done well to come here [to the hospital of Saint-Remy,] first of all that by seeing the actual truth about the life of the various madmen and lunatics in this menagerie I am losing the vague dread, the fear of the thing.

P15. The potatoo eaters, Vincent van Gogh 

Source: Wikipedia: The potato eaters, 1885, by Vincent van Gogh

… The potato eaters were not just a painting of laborious supper; it was the reflexion of what life could mean to the folks, they are forced to carry the tiring progress of humanity in the thousand feet deep grave-hole. Life is not a fragrance of lullaby; rather it is the lesson how to grip potatoes in your laborious thumbs with honest satisfaction. Vincent really mean it, the potato eaters not just done their supper in reward of hard manual labor, when they gripped the boiled potatoes it looked like they hold the globe and the burden of civilization in their tedious fingers.
… … …

No rivalry could remain when an artist thinks he is burning to catch the melancholic tunes of life that are coming from the remote stars. Vincent’s paintings led his viewers to such remoteness where despair cannot exist so far and pain no more resists blessing. His works remind, paint this life with courage and bold assiduity so that it can revive you from the despair and depression. He was not agitated to make a fight with life at every step as Gauguin was used to doing it. 

Vincent and Gauguin both artists were the victim of two different moods. Gauguin was a well-equipped militant in his mood, often preferred to work on canvas in a studio along with healthy food, stylish outfits, expensive wine and tobacco pipe. Vincent was more passionate to work on the outside like a vagabond along with his crazy dream to love this world with outrageous emotion. Both were master in their own way where they painted life in natural tunes and artful techniques. Gauguin feels the presence of a savage in his mind who insisted him often to rob the primordial essence of love and hatred in his canvas. Once he wrote August Strindberg in a letter where he said:

Your Nordic blue eyes looked attentively at the paintings hanging on the walls. I felt stirrings of rebellion: a whole clash between your civilization and my barbarism. Civilization from which you suffer. Barbarism which for me is a rejuvenation.

That was the reason for his later residency in Tahitian island where life yet identical to Nature with true simplicity and originality. Vincent was a whimsical lad when he met Gauguin. The impression was great for him, this was the first time he met such kind of person who believes, an artist doesn’t copy Nature but he makes the best abstraction of it and this is art. 

15. Gauguin's Chair, Vincent van Gogh

Source: vangoghmuseum.nl: Gauguin’s Chair, 1888 by Vincent van Gogh

… However, this disagreement doesn’t mean Vincent forgets the man once he loved passionately. Gauguin’s militant presence chased him unto the end of his life and he never forgot to remember him as the light-source of his paintistry.
… … …

Two were different in their artistic gestures; Gauguin treats his brain as the chamber where his technique articulates the subject he chooses for painting; contrary Vincent preferred what his heart calling him to articulate. Gauguin overcomes the misery and cruelty he experienced in his life through the symbolic articulation of things in his canvas. Vincent was unable to realize why this overcome is necessary for him when he already articulated his mind with graceful yellow and blue so that it can tell about the inborn power of love and compassion. They were opposite to each other but despite the antagonism, Gauguin attracts Vincent because he discovered something precious in that self-confident moody person. 

History told Vincent van Gogh cut his air because of his hot arguments with Gauguin; since he could not bear the pain that his best friend has decided to leave him; Gauguin’s departure from the yellow house was shocking for Vincent and he punished him by cutting his ear. A recent study claimed Gauguin cuts Vincent ear through his sword at the ending moment of hot debate and Vincent hides the real story to save his friend. Whatever it is, the separation was inevitable because Vincent believed in his heart what Gauguin once said in an interview:—a master artist never follow anybody. Vincent was such kind of character who love Gauguin as an inspiration but never indented to mean him as his mentor or conductor, which Gauguin had desired that this frivolous lad admit him as his guardian to understand modern artistry. 

However, this disagreement doesn’t mean Vincent forgets the man once he loved passionately. Gauguin’s militant presence chased him unto the end of his life and he never forgot to remember him as the light-source of his paintistry. After the separation, Vincent wrote Theo from the mental asylum:

Paul Gauguin, that curious artist … this friend of mine likes to make one feel that ‘a good picture is equivalent to a good deed’; not that he says so, but it is difficult to be on intimate terms with him without being aware of a certain moral responsibility. A few days before we parted, when illness forced me to enter an asylum, I tried to paint ‘his empty place’. It is a study of his armchair of dark, red-brown wood, the seat of greenish straw, and in the absent person’s place a lighted candlestick and some modern novels.” 

P14. The yellow house, Vincent van Gogh

Source: vincentvangogh.org: The Yellow House, 1888 by Vincent van Gogh

… he as well taught him to glorify the yellow house where creation arrives as like rain arrives after storm; and he mentored his skin to feel joyous when Gauguin has appeared in the yellow house like a stranger, it seemed that he came from the out of nothing; and, he trained himself to brush on canvas hour-after-hour under the blazing sunlight or stormy wind in Southern France. This is affection and Vincent liberated his soul in this way where society forced him to live.
… … …

Vincent takes the absurd burden in his soul and that is, he is the digger of such reality where life is a stubborn excavator like Millet’s lithography. It enforced him to step down the rock shield for his own sake. Every artist is a coal miner, he is ill-fated to dig his bumpy face and uprooted the ornamented musk he covered by. Vincent’s experience in Northern Belgium’s coalmine taught him to see people’s real faces in his canvas. 

The potato eaters were not just a painting of laborious supper; it was the reflexion of what life could mean to the folks, they are forced to carry the tiring progress of humanity in the thousand feet deep grave-hole. Life is not a fragrance of lullaby; rather it is the lesson how to grip potatoes in your laborious thumbs with honest satisfaction. Vincent really mean it, the potato eaters not just done their supper in reward of hard manual labor, when they gripped the boiled potatoes it looked like they hold the globe and the burden of civilization in their tedious fingers

P2. Shower at sunshine, Vincent Van Gogh

Source: Indiamart.com: Shower at sunset by Vincent Van Gogh

… The Dutchman was not a careerist in truth and that was a problem for his fellows who loved and cared him very much. No doubt, he was an idler on comparing to the service society offered and enforced him to perform. He was eager to see him in service, allowed his soul to celebrate the winsome taste of love and always positive in attitude that life is beautiful, even if sometimes it hurts and almost time tiresome for the folks who are destined to live it.
… … …

Life is not a joke for those people who are fraught to excavate stone-shields for humanity’s progress. Life is equally not a joke for the artist who forced himself to dig human nature, which makes a contradiction with the Nature-born spontaneity of life. Coal miners’ life once flourished Vincent’s soul with true compassion and that was love; it helped him realize how to catch every detail of human faces in contrast to Nature’s landscape. How the lazybones painted a robust amount of painting in his short lifespan with strange accuracy and artistry? The answer is simple,—he started his journey as an excavator, not literally, but he mentors himself how to read and how to dig this goofy life with a squat body and wounded soul. Art is not handy, it demands rage and contrary tranquility, it needs passion and equally simplicity if an artist wants to overcome the mire. You have to follow how Nature generates creation with great simplicity and this is art. Vincent exemplified it to his beloved brother through artistic tone:

Someone has a great fire in his soul and nobody ever comes to warm themselves at it, and passers-by see nothing but a little smoke at the top of the chimney and then go on their way.” 

P16. Noon rest from work, Vincent van Gogh

Source: vincentvangogh.org: Noon: Rest from Work, 1890 by Vincent van Gogh

… History depicts Vincent van Gogh a lazybones who thinks he can do anything to serve humanity but it should have gone according to his own ways. This perception made him an idler; it enforced him to rewrite the easiest meaning of idler in a different context… He came here for doing a service but finally realized he is out of that box which people mean service. This feeling once captured Vincent van Gogh’s mind with zealous intensity.
… … …

Who is Vincent? The answer might appear contradictory now. We can say he is Vincent who prefers a walk in the Wheatfield where sunlight flooded him with its golden grace. Yeah, his soul-companion and art-rival Gauguin marked his technique a wrong placement of color in the canvas, but Vincent was solid on his ground that when a man wanted to walk in the life he should think himself graced by the life God has given to him. Life is not for complaint rather it is for to feel the inner soul from where grace flourished. Vincent reminds this to his brother Theo: 

To suffer without complaint is the only lesson we have to learn in this life.” 

10. Filed and crows, Vincent Van Gogh

Source: vincentvangogh.org: Wheatfield with Crows, 1890 by Vincent van Gogh

… Vincent timbered his mind listen in what his soul has called him to do. This temptation was his painting and that was his only self-defense against the so-called paved normality of life where no flowers sprout.
… … …

The next question:—how one can define Vincent? We may say, he had a strong desire walking in the Wheatfield with golden grace, and contrary living in this world was impossible for him because black crows are flying in the field like a drunken sailor. Two opposite continuity have thrown us in the duality; we have to think about the painted canvas where a man makes himself walks under the flourished sunlight with drunken fliers.

P17. Almond blossom, Vincent van Gogh 

Source: vincentvangogh.org: Almond Blossom, 1890 by Vincent van Gogh

… His fault line was his raged emotion and it was careless to take the word ‘rivalry’ with enough caution. He was desirous to live this world like a dreamer, to think it a graceful bubble of glistening sunlight. This naivety makes his canvas vivid and miraculous where grief and animosity cannot stand long, where men’s faces appeared with Socratic pleasure to remind the emptiness and that is, —nothing will remain anymore when destruction happened… Every true artist is abnormal in that sense. If there is no abnormality then there is no art.
… … …

Loving Vincent_2

Source: blomkvis.tumblr.com: Loving Vincent trailer 
See Vincent van Gogh’s quotes: Wikiquotes.orgThe letters of a post-impressionist: Translated from the German by Anthony m. Ludovici: Project GutenbergThe Letters of Vincent van Gogh Quotes: Goodreads Collection;

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