Van Gogh in the Asylum

 Caitie Eggert

Though in his lifetime his art went relatively unappreciated, today, Vincent Van Gogh is arguably one of the most popular artists in western art history, and unlike many other artists, most individuals actually have some idea of his life story as well! Many recall learning at some point about Van Gogh’s struggles with seizures, hallucinations, and had moments when he would attempt to kill or harm himself. However, the debate over what illness or condition he truly had still rages on. After one particular incident during which he cut his own ear off, Van Gogh admitted himself into Saint Rémy’s Asylum in the hopes that he would receive treatment for his mental state. In Saint Rémy’s he was given his own studio in which he could work on his art, and whenever he felt well, he painted rather often! Throughout his one year stay at the asylum, Van Gogh painted a variety of subjects, most of which exhibit similar qualities and reflect certain aspects of life at Saint Rémy that stood out to him. However, each work that Van Gogh completed during his time at Saint Rémy’s, regardless of the subject, very clearly depicts his post-impressionistic style of creating energy and movement through the use of marks.

Vincent Van Gogh, Wheat Field with Cypresses, 1889, oil on canvas, 28 7/8 × 36 3/4 in. (73.2 × 93.4 cm), Metropolitan Museum of Art

During his time at the asylum, and when he felt well enough, Van Gogh spent most of his time painting scenes outside. One of his favorite subjects to draw and paint were the cypresses and wheat fields around Saint Rémy’s Psychiatric Hospital. In this piece, Van Gogh’s use of marks creates the illusion of movement throughout the scene. This becomes particularly evident in the curved lines of the wheat and the rhythmic curves of the clouds and surrounding hills. These elements reappear often among the outdoor scenes painted by Van Gogh at Saint Rémy’s.

Vincent Van Gogh, Wheat Field with Reaper and Sun, September 1889, oil on canvas, 73 x 92 cm, The Kröller Müller Museum of Art

As mentioned before, while staying at Saint Rémy’s, Van Gogh painted many landscapes including scenery around the asylum. Similarly to Wheat Field with Cypresses, This piece also portrays a vast wheat field surrounded by rolling hills, and the entirety of the painting comes to life withVan Gogh’s repetitious dashes and marks. This golden yellow also becomes characteristic of such scenes in his works. The sky becomes a particularly interesting focus (like many of his landscapes) as the golden yellow reflects the wheat field and seems to buzz with movement despite being a stagnant evening sky.

Vincent Van Gogh, Road at Saint Rémy with Female Figure, December 1889, oil on canvas, 32.2 x 40.5 cm., Kasama Nichido Museum of Art

This piece once again depicts an outdoor scene outside of Saint Rémy. Van Gogh’s opaque dashes once again litter the work and bring the image to life. The heaviness and large quantity of marks in this work in particular seem to really emphasize the idea that this is a post-impressionist piece. The trees almost appear to actively grow out toward the woman on the road, blocking her path. In a way, it makes the work almost difficult to decipher, and this adds to the mystery of said woman. Many of Van Gogh’s works contain similar singular, lone, indecipherable human figures within larger scenes such as in the aforementioned Wheat Field with Reaper and Sun. 

Vincent Van Gogh, Irises, 1890, oil on canvas, 29 x 36 1/4 in. (73.7 x 92.1 cm), Metropolitan Museum of Art

Van Gogh also often enjoyed painting vases of flowers during his stay at the asylum. Though at first glance this work seems to sharply contrast the intensity created by the movement of marks in Road at Saint Rémy with Female Figure, as we look closer, we notice that these marks do not in fact disappear but still exist throughout the piece. However, these serve a different purpose than those of the other works we have seen. In Irises, Van Gogh uses marks to both create texture (across the wall and on the vase for example) or to emphasize structure and shape (in the blooms of the flowers). Though the purpose of his marks changes in this work, they still play a role in imbuing energy into the piece.

Vincent Van Gogh, Portrait of Dr. Felix Rey, 1889, oil on canvas, 64x53 cm, The Pushkin State Museum of Fine Arts

Another subject Van Gogh painted regularly during his stay at Saint Rémy’s was individuals he encountered there! Van Gogh loved capturing the personalities of various people through portrait paintings of them. This work in particular depicts an assistant at the asylum who aided Van Gogh after one of his mental health attacks. Even in painting portraits, Van Gogh's use of marks remains ever present. The wallpaper behind Dr. Rey swirls around his head and shoulders, and even his coat contains these dashes characteristic of Van Gogh’s other pieces. Dr. Rey’s hair becomes especially interesting as it resembles the movement of the wheat fields in some of Van Gogh’s other works. Even though Dr. Rey appears stern and serious, the marks throughout the piece lighten the mood and make him seem more approachable.

Vincent Van Gogh, Corridor in the Asylum, September 1889, Oil color and essence over black chalk on pink laid ("Ingres") paper, 25 5/8 x 19 5/16in. (65.1 x 49.1cm), Metropolitan Museum of Art

Lastly, we will look at Corridor in the Asylum. This is one of only three paintings of the inside of the asylum that Van Gogh completes . Despite depicting a subject painted the least by Van Gogh during his stay at Saint Rémy’s, his hand in the work still remains clearly present as with his other pieces from this time. The dashes across the floors and walls create the same buzzing feeling that exists in some of his outdoor paintings such as Wheat Field with Sower and Sun. Even in something as stagnant as architecture, Van Gogh still manages to communicate movement and emotion through the use of these marks.