Vincent van Gogh

"How will it be with my work a year hence? Well, Mauve [van Gogh's cousin and art-teacher, in The Hague] understands all this and he will give me as much technical advice as he can, - that which fills my head and my heart must be expressed in drawing or pictures."

"I feel a certain calm. There is safety in the midst of danger. What would life be if we had no courage to attempt anything? It will be a hard pull for me; the tide rises high, almost to the lips and perhaps higher still, how can I know? But I shall fight my battle, and sell my life dearly, and try to win and get the best of it."

"I have [drawings of] about twelve figures of diggers and men who are working in a potato field, and I wonder if I could not make something of it, you have still a few, for instance, a man who fills a bag with potatoes. Well, I do not know for sure, but sooner or later I shall accomplish that, for I looked at it so attentively this summer, and here in the dunes I could make a good study of the earth and the sky, and then boldly put in the figures."

"Believe me, I work, I drudge, I grind all day long and I do so with pleasure, but I should get very much discouraged if I could not go on working as hard or even harder.. .I feel, Theo, that there is a power within me, and I do what I can to bring it out and free it. It is hard enough, all the worry and bother with my drawings, and if I had too many other cares and could not pay the models I should lose my head."

"At the moment I quite often go to draw with Breitner [in the streets of The Hague], a young painter who's acquainted with Rochussen as I am with Mauve. He draws very skilfully and very differently from me, and we often draw types together in the soup kitchen or the waiting room &c. He sometimes comes to my studio to look at woodcuts, and I go to see the ones he has as well."

"Of course I should be very happy to sell a drawing but I am happier still when a real artist like Weissenbruch says about an unsalable??? study or drawing: "That is true to nature, I could work from that myself.""

"Here's a list of Dutch paintings intended for the [Paris] Salon: - Israëls, an old man: ..an old man sits in a hut by the fireplace in which a small piece of peat barely glows in the twilight. For it's a dark hut the old man sits in, an old hut with a small window with a little white curtain. His dog, who's grown old with him, sits beside him – those two old creatures look at each other, they look each other in the eye, the dog and the old man. And meanwhile the man takes his tobacco box out of his trousers pocket and he fills his pipe like that in the twilight. Nothing else – the twilight, the quiet, the loneliness of those two old creatures, man and dog, the familiarity of those two, that old man thinking.. ..that face – a melancholy, satisfied, submissive expression.. .I definitely know of no other painting than this Israëls that can stand up to Millet's 'Death and the Woodcutter', that one can see at the same time, on the other hand I know of no other painting that could stand up to this Israëls than Millet's Death and the woodcutter, no other painting that one can see at the same time as this Israëls. Moreover, I feel in my mind an irresistible desire to bring together that painting by Israëls and that other by Millet and make them complement each other.. .It's a fabulous Israëls,."

"To stroll on wharves, and in alleys and in streets and in the houses, waiting-rooms, even saloons, that is not a pleasant pastime unless for an artist. As such, one would rather be in the dirtiest place where there is something to draw, than at a tea party with charming ladies. Unless one wants to draw ladies, then a tea party is all right even for an artist."

"This winter I met a pregnant woman [ Sien / Christine ] deserted by the man whose child she bore. A pregnant woman who in winter had to walk the streets, had to earn her bread, you understand how. I took that woman for a model, and have worked with her all the winter. I could not pay her the full wages of a model, but that did not prevent my paying her rent, and, thank God, I have been able thus far to protect her and her child from hunger and cold, by sharing my own bread with her.. .It seems to me that every man worth his salt would have done the same in a similar case. What I did was so simple and natural, that I thought I could keep it to."

"I recently saw the exhibition of French art (on the Boschkant) [The Hague] from the collections of Mesdag, Post &c. .. ..I especially liked the large sketch by T. Rousseau from the Mesdag collection, a drove of cattle in the Alps. And a landscape by Gustave Courbet 'Hilly landscape', 1858/59], yellow hilly, sandy ground, with fresh young grass growing here and there, with black brushwood fences against which a few white birch trunks stand out, grey buildings in the distance with red and blue slate roofs. And a narrow, small, light delicate grey band of sky above. The horizon very high, however, so that the ground is the main thing, and the delicate little band of sky really serves more as contrast to bring out the rough texture of the masses of dark earth. I think this is the most beautiful work by Courbet that I've seen so far."

"The Dupré's [pictures] are superb and there's a Daubigny.. ..that I couldn't get enough of. The same goes for a small Corot [probably Corot's painting 'Pond at Ville-d'Avray',] a stretch of water and the edge of a wood on a summer morning about 4 o'clock. A single small pink cloud indicates that the sun will come up in a while. A stillness and calm and peace that enchants one."

"What am I in the eyes of most people — a nonentity, an eccentric, or an unpleasant person — somebody who has no position in society and will never have; in short, the lowest of the low. All right, then — even if that were absolutely true, then I should one day like to show by my work what such an eccentric, such a nobody, has in his heart. That is my ambition, based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Though I am often in the depths of misery, there is still calmness, pure harmony and music inside me. I see paintings or drawings in the poorest cottages, in the dirtiest corners. And my mind is driven towards these things with an irresistible momentum."

"Text: Psalm 119:19. I am a stranger on the earth, hide not Thy command ments from me. Are we what we dreamt we should be? No, but still the sorrows of life.. .,so much more numerous than we expected, the tossing to and fro in the world, they have covered it over, but it is not dead, it sleepeth."

"Always continue walking a lot and loving nature, for that’s the real way to learn to understand art better and better. Painters understand nature and love it, and teach us to see."

"Great things are not done by impulse, but by a series of small things brought together."

"Variant: Great things are done by a series of small things brought together."

"Now, such an enterprise as would be the drawing and printing [by lithography ] of a series of, for instance, thirty pages of types of workmen, a sower, a digger, a woodcutter, a plowman, a wash-woman, then also a child's cradle or a man from the almshouse - well, the whole immeasurable field lies open, there are plenty of beautiful subjects - I should think the following would be the best way: as it is useful and necessary that Dutch drawings are made, printed, and spread, destined for the houses of workmen, a few persons should unite in order to use their full strength for this end."

"I fear that in a few years there may be a kind of 'panic', in this form: 'since Millet' we have sunk very low — the word decadence, now whispered or pronounced in veiled terms (see Herkomer), will then sound like an alarm bell. Many, like I myself, now keep quiet, because they already have the reputation of being awkward customers,5 and talking about it doesn't help. That — namely, talking — isn't what one needs to do — one must work, though with sorrow in the heart. Those who later cry out the loudest about decadence will themselves belong to it the most. I repeat: by this shall ye know them, [from: Matt. 7:16.] by their work, and it won't be the most eloquent who say the truest things. See Millet himself, see Herkomer, they're certainly not orators, and speak almost reluctantly."

"Some good must come by clinging to the right. Conscience is a man's compass, and though the needle sometimes deviates, though one often perceives irregularities in directing one's course by it, still one must try to follow its direction."

"And my intention is to try to form a collection of many such things, which would not be quite unworthy of the title 'heads of the people.' By working hard, boy, I hope to succeed in making something good. It isn't there yet, but I aim at it, and struggle for it. I want something serious, - some thing fresh - something with soul in it! Forward - forward -"

"There are things which we feel to be good and true, though in the cold light of reason and calculation many things remain incomprehensible and dark. And though the society in which we live considers such actions thoughtless, or reckless, or I don't know what else, what can we say if once the hidden forces of sympathy and love have been roused in us? And though it may be that we cannot argue against the reasoning sentiment and to act from impulse, one would almost conclude that some people have cauterized certain sensitive nerves within them, especially those which, combined, are called conscience. Well, I pity those people; they travel through life without compass, in my opinion."

"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."

"Poetry surrounds us everywhere, but putting it on paper is, alas, not so easy as looking at it."

"When you [Theo] come you must see my woodcuts again. I've got some new ones since last time. It seemed to you perhaps as if the sun shone brighter and everything had acquired a new charm. At any rate, I believe this is always the effect of a serious love [Vincent doesn't call here his love Sien,] and that's a delightful thing.. .I can find no words for how beautiful the old courtyards are here. And although Jozef Israëls does it perfectly, so to speak, I find it strange that so relatively few pay them any attention. Here in The Hague every day, so to speak, I see a world which a great many pass by and which is very different from what most are making. And wouldn't dare say this if I hadn't had the experience of figure painters actually passing it by as well, and remembered walking with them and, when I was struck by this or that figure we encountered, hearing repeatedly 'Oh, but those filthy folk' or 'that sort of people' — in short, expressions one wouldn't expect from a painter."

"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."

"Your description of Troyon and Rousseau, for instance, is lively enough to give me some idea of which of their manners they are done in. There were other paintings from the time of Troyon's municipal pasture that had a certain 'mood' that one would have to call 'dramatic', even though they aren't figure paintings."

"Speaking of Rousseau, do you know Richard Wallace's [owner of a] Rousseau? ['The forest of Fontainebleau': Morning, a landscape, with cattle drinking, c. 1850] An edge of a wood in the autumn after rain, with a vista of meadows stretching away endlessly, marshy, with cows in them, the foreground rich in tone. To me that's one of the finest — is very like the one with the red sun in the Luxembourg ['The edge of the forest of Fontainebleau, at sunset', c. 1849]. The dramatic effect of these paintings is something that helps us to understand 'a corner of nature seen through a temperament' ["

"Involuntarily and without any definite motive, I had a thought that often occurs to me. Not only did I begin drawing relatively late in life, but it may also be that I shall not live for so very many years to come.. .I think I may presume without rashness: that my body will keep a certain number of years "quand bien meme" - a certain number, say between six and ten years for instance.. .This is the period on which I reckon firmly."

"Boughton together with Abbey are making for Harper in New York drawings called "Picturesque Holland".. ..now I say to myself if the Graphic and Harper send their draughtsmen to Holland they would perhaps not be unwilling to accept a draughtsman from Holland [Vincent himself], if he can furnish some good work for not too much money. I should prefer to be accepted on regular monthly wages rather than to sell a drawing now and then at a relatively high price."

"Do you know what I long for sometimes? To make a trip to Brabant. I should love to draw the old churchyard at Nuenen, and the weavers. To make, for instance, during a month, studies of Brabant, and to come back [to The Hague] with a lot of them, for a large drawing of a peasant funeral for instance."

"My intention is to make in Drenthe so much progress in painting that when I come back I may be qualified for the 'Society of Draughtsmen' [a group of London illustrators]. This stands again in connection with the second plan of going to England [to become an illustrator]."

"..The thought crossed my mind, how society today in its fall, at moments seen against the light of a renewal, stands out as a large, gloomy silhouette. Yes, for me, the drama of storm in nature, the drama of sorrow in life, is the most impressive."

"I tell you, brother, I am not good from a clergyman's point of view. I know full well that, frankly speaking, prostitutes are bad, but I feel something human in them which makes me feel not the least scruple to associate with them; I see nothing very wrong in them.. .And now, as in other periods of decline of civilization, the corruption of society has turned upside down all relations of good and evil, and one falls back logically on the old saying: "The first shall be last and the last shall be first"."

"As I feel a need to speak out frankly, I cannot hide from you that I am overcome by a feeling of great care, depression, a "je ne sais quoi" of discouragement and despair more than I can tell. I take it so much to heart that I do not get on better with people in general; it quite worries me because on it depends so much my success in carrying out my work."

"There is a saying by Gustave Dore which I have always admired: "J'ai la patience d'un boeuf." [I have the patience of an ox]. I find in it a certain goodness, a certain resolute honesty, more, it has a deep meaning that saying, it is the word of a real artist. When one thinks of the men from whose heart such a saying sprang, all the arguments one too often hears of art dealers about "natural gifts", seem to become a terrible raven's croaking."

"If you hear a voice within you saying, "You are not a painter," then by all means paint, boy, and that voice will be silenced, but only by working. He who goes to trends and tells his troubles when he feels like that loses part of his manliness, part of the best that's in him; your friends can only be those who themselves struggle against it, who raise your activity by their own example of action."

"And my aim in my life is to make picture and drawings, as many and as well as I can, then, at the end of my life, I hope to pass away, looking back with love and tender regret, and thinking: "Oh, pictures I might have made!" Theo, I declare I prefer to think how arms, legs, head are attached to the trunk, rather than whether I myself am or am not more or less an artist."

"I am busy painting every day studies of the weavers here, which I think are technically better than the painted studies from Drenthe, which I sent you."

"Love always brings difficulties, that is true, but the good side of it is that it gives energy... .I have not yet had enough experience with women. What we were taught about them in our youth is quite wrong, that is sure, it was quite contrary to nature, and one must try to learn from experience. It would be very pleasant if everybody were good, and the world were good, etc. - yes - but it seems to me that we see more and more that we are not good, no more than the world in general, of which we are an atom - and the world no more good than we are. One may try one's best, or act carelessly, the result is always different from what one really wanted. But whether the result be better or worse, fortunate or unfortunate, it is better to do something than to do nothing. If only one is wary of becoming a prim, self-righteous prig - as Uncle Vincent calls it - one may be even as good as one likes."

"Now I ask you whether you yourself have not often noticed that the policy of floating between the old and the new is not tenable? Just think this over. Sooner or later it ends with one's standing frankly either to the right or to the left. It is no ditch, and I repeat, then it was '48 [the 1848 Revolutions in Europe,] now it is '84 [1884]; then there was a barricade of paving stones - now it is not of stones, but a barricade as to the incompatibility of old and new."

"And it's certain that unexpected new ideas are beginning to emerge. That paintings are once again beginning to be painted in very different tone from a few years ago. The last thing I made is a rather large study of an avenue of poplars with the yellow autumn leaves, where the sun makes glittering patches here and there on the fallen leaves on the ground, which are interspersed with the long shadows cast by the trunks. At the end of the road a peasant cottage, and the blue sky above it between the autumn leaves. I think that in a year's time — having spent that year once again painting a great deal and constantly — I'll change my manner of painting and my colour a great deal, and that I'm likely to become slightly more sombre rather than lighter."

"Le financier est la désolation de l’artiste."

"Now, there are people who say to me "Why did you have anything to do with her," — that's one fact. And there are people who say to her, "Why did you have anything to do with him," — that's another fact. Apart from that, both she and I have grief enough and trouble enough, but as for regrets — neither of us have any. Look here — I believe without question, or have the certain knowledge, that she loves me. I believe without question, or have the certain knowledge, that I love her. It has been sincerely meant. But has it also been foolish, etc? Perhaps, if you like — but aren't the wise ones, those who never do anything foolish, even more foolish in my eyes than I am in theirs?"

"You will say that I am not a success - vaincre or être vaincu, [to conquer or to be conquered], it doesn't matter to me, one has feeling and movement in any event, and they are more akin than they may seem to be or than can be put into words."

"Oh, I am no friend of present-day Christianity, though its Founder was sublime - I have seen through present-day Christianity only too well. That icy coldness hypnotized even me, in my youth - but I have taken my revenge since then. How? By worshipping the love which they, the theologians, call sin, by respecting a whore [ Sien in The Hague ]), etc., and not too many would-be respectable, pious ladies. To some, woman is heresy and diabolical. To me she is just the opposite."

"Oh, Theo, why should I change - I used to be very passive and very gentle and quiet — I'm that no longer, but then I'm no longer a child either now - sometimes I feel my own man."

"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."

"I repeat, let us paint as much as we can and be productive, and be ourselves with all our faults and qualities; I say us, because the money from you [Theo], which I know costs you trouble enough to procure me, gives you the right, when there is some good in my work, to consider half of it your creation."

"My dear Theo, Sincere wishes for your good health and serenity on your birthday. I would like to have sent you the painting of the potato eaters for this day, but although it's coming along well, it's not quite finished yet. Although I'll have painted the actual painting in a relatively short time, and largely from memory, it's taken a whole winter of painting studies of heads and hands. And as for the few days in which I've painted it now - it's consequently been a formidable fight, but one for which I have great enthusiasm. Although at times I feared that it wouldn't come off. But painting is also 'act and create'."

"If you saw the first painted color-studies that I made when I came here to Nuenen [1883] - and the present canvas [1885] - side by side - I think you'd see that as far as colour is concerned - things have livened up. I think that the question of the breaking of colours in the relationships of the colours will occupy you too one day. For as an art expert and critic, one must also, it seems to me - be sure of one's ground and have certain convictions. At least for one's own pleasure and to be able to give reasons, and at the same time one must be able to explain it in a few words to others, who sometimes turn to someone like you for enlightenment when they want to know something more about art."