The National Gallery
14 September 2024 – 19 January 2025
Synonymous with the figure of the great and suffering artist, for many, Vincent Van Gogh represents the quintessential meaning of modern art. ‘Poets and Lovers’ brings together his best loved paintings alongside ones that are rarely seen in public. His drawings are interspersed throughout.
Over just two years in the south of France at the end of the nineteenth century, Van Gogh’s fertile and versatile imagination created a revolution in style which married the wonder of the Japanese vision with all the spirituality and poetry of the West. The exhibition encompasses this transformative and influential, inspirational journey in Arles and Saint-Rémy as masterpieces such as ‘Sunflowers’ were painted and the artist explores – with all of his fevered intensity – the realms of poetry and love.
Van Gogh struggled with mental health issues during this time – the current psychological and spiritual crisis that is marring humanity in this moment and therefore of the utmost relevance and significance to us. The exhibition shows how he transcended suffering. And that it was because of this suffering that he became Van Gogh. The exhibition is a demonstration of the strength of the human and of our resilience, creativity and adaptation in the face of collapse and breakdown.
Portraits abound as do scenes of the garden, including the most revealing imaginative grounds of the asylum where Van Gogh was treated. Each picture shows how Van Gogh coupled poetry and romance with an inner vision of things external to create beauty and the vivid life we see in each of his swirls and pirouettes across the canvas to envisage anew nature and individuals.
Highlights of the exhibition include ‘Starry Night over the Rhône’ (1888, Musée d’Orsay), ‘The Yellow House’ (1888, Van Gogh Museum), as well as the National Gallery’s ‘Sunflowers’ (1888) and ‘Van Gogh’s Chair’ (1889).
This is the first major exhibition devoted to Van Gogh in the National Gallery’s rich history.
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Well researched and genuinely generous to the artist’s ouevre, the Van Gogh exhibition really is a delight for those that love his work and want to know more about his life and inspirations. What was particularly interesting for me was the devotion to the literary and artistic influences on the man as some of the most famous episodes of his existence unfolded: the friendship and arguments with Paul Gaugin and, notoriously, the episodes of mental illness. Van Gogh emerges as the devotee of romance novels, a dreamer and a romantic.
The selection of paintings work as an artistic map of Van Gogh’s journey and exploration of a new locale. He investigates the landscape creatively and with inspired fervour. He remakes the world into his own shape. We see how from a first infatuation, darker and darker elements of the landscape and the world crystallise in the works, the descent into mental difficulties.
As we walk around the many rooms of the exhibition, we mirror Van Gogh’s tracing of the territories around him that he claimed: and we claim that artistic map of the world ourselves, these two years of life amidst the countryside, the Yellow House and the asylum.
Love is a major theme of the exhibition, Van Gogh’s dream of love. The desire to belong to someone. The early landscapes are idealised worlds of love populated by couples, romance and poetry. Van Gogh repeatedly associated poetry with love. This love counterbalances with the cold institutionalisation of the asylum where, perhaps, love is impossible.
On the walls of the exhibition, we see morsels of Van Gogh’s letters to his brother Theo which explain and promote his work. The words allow us to see what his intentions were behind each of the works, the deep river of emotion behind every brush stroke, what was attempted as expression and idealisation. The powerful voice of the man and his humanity and feeling.
Profound, moving, inspirational. This is how I would describe the Van Gogh exhibition. A delight for the lovers of Van Gogh and also, a meditation on how place transforms personality and creativity and how personality and creativity transform place. The magical canvases and portals into the imagination and poetry of Van Gogh and humanity itself are on show here. Who could object or criticise this wonderful achievement?
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Suneel’s Notes
When I looked at the portrait of ‘The Lover (Portrait of Lieutenant Milliet)’, I was struck by the sadness of Van Gogh. The artist, all alone, dreaming of love, had looked upon Milliet with envy because of his success with women. Here was the artist, the dreamer, the creator of beauty, looking at what the women love: a man of the state. The man synonymous with the power of the state and its violence. A man of violence. I too looked at this figure in this uniform that was the object of female desire with sadness and resignation, remembering my own failures in love. And I shared the subversive vision of Van Gogh who had reversed the star and crescent which was the regimental emblem of Milliet’s infantry unit the Zouaves. A desire to change the desires of others. A desire to transform and subvert the symbols of the state. A criticism of love and its conservativism. A desire for revolution and change. A desire to reverse reality.
What after all is envy? The imaginative desire to transcend and to transform reality so that it is the self that is favoured instead of the other. You contemplate the fortune of the other and the love that the other receives through their privilege and their adherence to the status quo and you feel that you deserve the same no matter how different you are. Envy is not inferiority. Envy is the feeling of life and others not having been fair to you. If life is unfair, at least in the imagination you can be fair to yourself. Because you deserve love too. And if the only way to get love is to shake the foundations of the world, this can be done in art.
Against the man of violence, we protest love. Against the staring face of the state and its coercion and violence, we protest love. Against power, the powerless protest love. Sadly. Against the blue background of depression and the blue scars and bruises of the heart.
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The garden abounded in Van Gogh’s art. The beautiful garden. The dream to have a garden, to be in the garden, to tend the garden, to live a life in the garden away from the troubles of the world.
But the flowers? The flowers were little dots and dashes. What was of the magnificence and study was the sturdy tree. The trees dominated, swirled and danced in the flow of the artist’s brush and pen. Invigorating, powerful, the connection with nature, with healing. For many of the gardens were in the midst of mental suffering, in the asylum. Those trees were anchors which held the artist down to the world. Their patterns and their growth an inspiration to go on, to keep on finding beauty, to grow again.
And then, the sunflowers and the oleanders and irises. What Van Gogh could not give attention to in the garden, he gave attention to within the home. Away from the overpowering force of the garden and the outside world. Once more, he could concentrate. The meaning of the flowers became clear to me. The attention to beauty, to life. It could come back again from the assault of the senses that was the outside world.
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Van Gogh. An artist. A poet. A writter of letters.
But above all, a reader. A dweller of the imagination and of the city of beauty.
Many paintings and drawings inspired by novels. And the one that struck me the most in what he read and how he presented his reading was Zola’s The Sin of Abbe Mouret (La Faute de l’Abbé Mouret), about a priest that forgets about his vows of chastity.
For Van Gogh is a man consumed with the passion of love and the passion to love. And love is what he is not getting in his life or from his art.
And that one novel, of falling in love, of feeling the madness of love, of forgetting the self, destroying the self, falling completely, completely… This is the dream of love. The dream of the artist. The dream of the lover of beauty.
And when you have understood what that novel is and the role of nature and the flowers within it, including in the tragic ending, that is when you understand Van Gogh and his art as a whole.
I have loved Van Gogh’s art my whole life. The dancing, mesmerising swirls. The vivid colours, brighter and more intense than this drab life that we have to live. A man that dreams of absolute love, whose art is a plea for that absolute love. The absolute love which I give to Van Gogh. However different he is from me. However we may disagree on things. He is the poet and the lover. And in that, he is me.
diary of a lone man 