There have been few artists whose lives have been more thoroughly dissected than Vincent van Gogh.
The enormous range of fiction and non-fiction books, movies, plays and music inspired by his life and art could fill a library all by itself. Almost as fascinating as the details of his mental illness and how it shaped van Gogh's life was the speculation over the exact diagnosis involved. Considering the bizarre set of symptoms that he displayed, especially during the ten prior to his death on July 29, 1890., medical experts and biographers have suggested possible medical diagnoses including neurosyphilis, schizophrenia, bipolar disorder, epilepsy, and even poisoning due to his chronic absinthe use. The only actual clues to what motivated Van Gogh's mental deterioration are the letters that he wrote to his brother Theo and sister-in-law, Johanna. 
Those letters make fascinating reading, not only by the glimpses that they provide into the life of a struggling artist but also the changes in his personality that preceded many of the bizarre episodes that have made him famous. Johanna Van-Gogh-Bonger, Theo's widow, admitted in her introduction to her 1913 book that she was uneasy about her decision to publish the Van Gogh letters. She expressed the very real fear that her brother-in-law's dramatic life might well overshadow his artistic work (and she was likely right).
For all Van Gogh's amazing art, it is almost certainly the mythology surrounding his life that has driven the fascination that he still holds today (and makes his paintings fetch such amazing prices in international art aucti0ns). As many biographers point out, Van Gogh's chief ambition was to be a "painter of modern portraits" who enjoyed portraying peasant life but he is largely seen as a madman who died for the sake of his art.
A Gift For Rachel
Although Vincent Van Gogh had numerous episodes of mental illness during his lifetime, the most notorious one occurred when he cut off part of his left ear while living in the southern French city of Arles. By late 1888, Van Gogh and Paul Gauguin were sharing rooms in Arles at the now-famous Yellow House and their strained relationship made life difficult for both of them. As Vincent described in a letter that he wrote to Theo on December 23, 1888, " I think that Gauguin was a little disenchanted with the good town of Arles, the little yellow house where we work, and above all with me. Indeed there are serious problems to overcome here still, for him as well as for me... But these problems lie more in ourselves than anywhere else." Although Vincent added that "Gauguin is very strong, very creative, but he needs peace precisely because of that. Will he find it elsewhere if he doesn't find it here? I await his decision with absolute equanimity", what happened later that day suggested that his relationship with Gauguin exploded in a way that neither of them anticipated.
After Gauguin returned from a walk through a nearby garden, Van Gogh suddenly approached him and threatened him with a straight-edge razor. Although Gauguin managed to calm him down, he wisely decided to spend the night in a hotel and left his roommate alone. Later that same night, Van Gogh went to an Arles brothel and asked for Rachel, a favourite prostitute of his. He then gave her a piece of his earlobe that he had cut off, carefully wrapped in newspaper. After asking Rachel to "keep this object carefully", he then staggered home.
Gauguin found him the next morning unconscious in his bed which was covered in blood. He then contacted the police and Van Gogh was taken to a local hospital. Although the actual police reports are long gone, Theo rushed to Arles after Gauguin sent him a telegram. While in the hospital, Van Gogh was treated by a sympathetic doctor and his condition was stabilized. Considering this was in an era before blood transfusions and antibiotics were available, he likely came close to dying.
In a note that Van Gogh wrote to Theo on January 2, just a few days after the ear-mutilation incident, he played down what had happened. He also added that "I hope that I have had no more than a perfectly ordinary attack of artistic temperament, followed by a high fever as a consequence of the loss of a very great deal of blood because an artery had been severed" Despite being open about his physical recovery, and the excellent medical care he received in hospital, his main concern was dealing with insomnia. He was also honest about what the episode meant for his career as an artist. Closing the note to Theo, he said "If I recover, I must start afresh, but I shall never again be able to reach the heights to which the [mental] illness to some extent led me...".
Van Gogh also wrote letters to Gauguin in which he tried to make amends for threatening him and even made an attempt to see Rachel to apologize for his actions and the "gift" he left for her. As he pointed out to Theo in a February 3, 1889 letter, "Yesterday I went to see the girl to whom I had gone when I was off my head. they told me that there]s nothing surprising about things like that in this part of the world. She'd been upset and had fainted but had regained her composure And indeed, they spoke well of her. But it won't do for us to think that I am completely sane. The people from round here who are ill like me have told me the truth. You can be old or young, but there will always be times when you take leave of your senses. So I don't ask you to tell people that there is nothing wrong with me, or that there never will be... as long as you have no false shame and say frankly how you feel, you cannot go wrong".
From Hospital to Asylum
Although he was was formally discharged from hospital on February 17, Vincent Van Gogh's problems were hardly over. As far as the good people of Arles were concerned, the artist was dangerously insane and a public petition asked the mayor to have him locked in an isolation cell for a month. The Yellow House where he and Gauguin had lived was sealed by police and he was banned from returning. In bringing Theo up to date on what was happening, Van Gogh had to reassure him in a letter that "As far as I can judge, I am not really mad." His artist friends continued to visit and they even went to the Yellow House together to make fun of the police on guard. Van Gogh also began painting again although he was afraid of setting up a new studio on his own. He and his brother began discussing his going to a nearby asylum as a precaution and he was realistic as he evaluated his condition. As he wrote to Theo, "What comforts me is that I am beginning to look on madness as a disease like any other and to accept it as such".
Becoming more used to the fixed hospital routine, Van Gogh became increasingly afraid of reentering the world (a common problem with psychiatric patients facing release). Along with the stigma attached to his mental illness, he also reported feeling "crushed by guilt and inadequacy" and hints of suicidal thoughts, which were nothing new to him, became more frequent in his writing. He was also worried about money despite Theo reassuring him that his business as an art dealer was going well. At one point, Vincent even suggested enlisting in the Foreign Legion (yes, people actually did that back then although Theo quashed this idea).
By late 1889, Van Gogh left Arles for the last time and went to the St Paul de Mausole asylum in nearby Saint-Remy. As he explained in a letter to his sister, Wil, "In all, I have had 4 major attacks, during which I had no idea what I asid, what I wanted or what I did, not to mention the three times before when I had fainting fits for inexplicable reasons, being quite unable to recall what I felt at that time".
Life in the Asylum
Even as a patient, Van Gogh kept up his painting. Along with sending him painting equipment, Theo kept his brother informed on what was happening in the Paris artist community and which of his paintings he would be entering in art exhibitions. Although Van Gogh's doctor limited his freedom of movement at first, that changed as staff became more confident that there would be no more self-harm incidents. Vincent also studied his fellow mental patients with keen interest and wrote to Theo that "my fear of madness is wearing off markedly, since I can see at close quarters those who are affected by in the same way that I may very easily be in the future... For though there are some who howl and rave a great deal, there is much true friendship here. They say we must tolerate others so that others may tolerate us, and other very sound arguments, which they put into practice too. And we understand each other very well. Sometimes for instance, I can talk with one of them - who can only reply in incoherent sound - because he is not afraid of me".
He was also a keen observer of his mental processes before and after his psychotic episodes and carefully documented these changes in his letters (the equivalent of blogging back then). As he commented in a letter to Theo, "Again- speaking of my condition- I am so grateful for yet another thing. I've noticed that others, too, hear sounds and strange voices during their attacks, as I did, and that things seemed to change before their very eyes. And that lessened the horror with which I remembered my first attack, something that, when it comes on you unexpectedly, cannot but frighten you terribly. Once you know it is part of the illness, you accept it like anything else. Had I not seen other lunatics close to, I should not have been able to stop myself from thinking about it all the time. For the suffering and the anguish are not funny when you are having the attack...I like to think that once you know what it is, once you are conscious of your condition, and of being subject to attacks, then
you can do something to prevent your being taken unawares by the anguish or the terror. Now that it has been abating for five months I have high hopes of getting over it, or at least of no longer having such violent attacks."
Though restricted to the hospital grounds (with supervised visits to the local countryside), Vincent managed to continue his painting and Theo's letters were full of praise for the quality of his work. In one letter, he praised Vincent for "conveying the quintessence of your thoughts about nature and living beings, which , you feel are so closely bound up in them. But how that brain of yours must have laboured, and how you have risked everything in venturing to the very brink, where vertigo is inevitable." Theo wasn't the only one to recognize the genius of his brother's work. The time Van Gogh spent in hospital marked some of his most amazing artwork, including The Reaper, Cypresses, and his best-known painting, The Starry Night (later the title of a Don Henley song about his life).
Despite a psychotic attack in mid-July that threatened to delay his release from hospital, Van Gogh slowly improved. His doctors had misgivings about his recovery though. According to one doctor who privately reported to Theo, "his suicidal tendencies have gone, the only thing that still troubles him is having unpleasant dreams." There was also the question of where Vincent could go after his release. While he wanted to go north to continue his painting, he hesitated since "there are so many people there". This recovery was delayed further by a serious attack in December, 1889, almost a full year after the Arles episode. Since he tried to commit suicide by swallowing paint, his doctors restricted his painting and confined him to drawing instead.
Once he had recovered enough to write to Theo and Johanna again, Vincent described himself as feeling "like a broken vessel". Despite further setbacks, Vincent was cheered by the birth of a nephew (named "Vincent" in his honour). Despite serious epileptic seizures and more setbacks to his recovery, Vincent Van Gogh kept up his painting and his correspondence with friends and family. There were also long silences during which he didn't write at all and Theo noted sadly, in a letter to him on April 23, 1890, that "your silence is proof that you are not yet well." Van Gogh did his best to reassure Theo and finally left the asylum to travel to Paris.
Van Gogh's Final Days
Vincent Van Gogh had a very personal reason for visiting Paris after leaving the asylum. Not only had he never met his sister-in-law Johanna except through her letters, he was also eager to see his new nephew for the first time. Although he and Johanna had been exchanging letters since her marriage to Theo, the meeting was important for both of them. She would later write that "I had expected a sick man but here was a sturdy, broad-shouldered man, with a healthy colour, a smile on his face, and a very resolute appearance." Van Gogh in turn described Johanna as "charming and very simple and nice". Despite being with his family, Van Gogh was disturbed by "the noise and bustle" of Paris and was afraid of having a relapse.
By May, 1890, he had left Paris and was safely settled in nearby Auvers-sur-Oise. Now a suburb of Paris, the peaceful commune was a favourite hangout for artists. In deciding that he should live there, Theo Van Gogh had arranged for his brother to say in the home of a homeopathic doctor and psychiatrist named Paul Gachet. Since Dr. Gachet was an amateur painter himself, the Van Gogh brothers had decided that he would be the ideal doctor to oversee Vincent's recovery and allow him to continue his painting.
Despite having numerous artists as patients (including August Renoir and Edouard Cezanne), Dr. Gachet had his own eccentricities and Van Gogh had problems with the treatment he received. Van Gough eventually concluded that Dr. Gachet was "sicker than I am, I think, or shall we say just as much." Although the doctor was full of advice on how his patient could recover (including giving up alcohol and smoking), Van Gogh refused to follow it
If Van Gogh had been optimistic before coming to Auvers-sur-Oise, his misgivings about Dr. Gachet's treatment likely made him more depressed than ever. Along with his depression, he also seemed more apprehensive about his condition getting worse. Although Van Gogh's time there was one of his most productive periods with many fine works being produced (including a portrait of Dr. Gachet and his daughter), his letters to Theo were filled with concerns about his future prospects. Theo in turn was worried about his brother as well as his own career as an art dealer.
Despite hints that Van Gogh was slowly growing worse, what happened on July 27, 1890 took everyone by surprise. After the sound of a shot was heard behind the Auberge Ravoux where he had been staying as a lodger, a severely wounded Vincent Van Gogh stumbled into the chateau. While his condition appeared to be stabilized at first (he was even smoking a pipe at one point), he eventually slipped into a coma.
According to medical sources, the attending physician underestimated how serious the wound was and made no attempt to remove the bullet. Theo, summoned from Paris by an urgent telegram from Dr. Gachet, managed to arrive in time to have his brother die in his arms. While no gun was ever found, there seemed little doubt that his death was a suicide.
In describing Vincent's death, Johanna later wrote that "Fear of the illness that was threatening him once again, or an actual attack drove him to his death." Although Paul Gachet faced considerable criticism over his patient's suicide just ten weeks after treatment began, he defended himself by pointing out that Vincent failed to follow much of the actual advice that he had been given. Vincent was buried in Auvers-sur-Oise.
The Aftermath
And Vincent Van Gogh wasn't the only casualty. Theo, grieving over his brother's death and guilt-stricken over being able to prevent the suicide, developed serious medical problems of his own. His health had already been poor and he never recovered from the shock of losing Vincent. Just a month after settling Vincent's last will and testament (he was the executor), Theo began experiencing severe headaches and mood swings as well as terrible nightmares.
He quit his job and eventually broke down completely by the middle of October when he was admitted to a Paris clinic with a possible stroke. His condition worsened and Johanna took him home to the Netherlands where he died on January 25, 1891. He was only 33 years old. Although the official cause of death was dementia paralytica (possibly syphilis-related), the emotional trauma of his brother's suicide likely played a major role. While he was first buried in his native country, Theo's body was exhumed in 1914 and buried next to his brother in France. As for Johanna, although she later remarried, she continued to act as a major driving force in promoting the memory of Vincent and Theo Van Gogh until her own death in 1925.
Already praised for his amazing art during his lifetime, Van Gogh's reputation grew steadily after his death. The extensive collection of letters that he wrote were first published in annotated form by Johanna in 1913. Along with providing a compelling look at the lifelong friendship between Vincent and Theo, the letters also show Vincent's relationship with some of the most famous artists of his time (including Paul Gauguin and Henri de Toulouse-Lautrec) and the emotional support that he depended on for so long. Although the letters were originally undated, careful work by Van Gogh's various biographers, as well as historians associated with the Van Gogh Museum have made the letters an imp0rtant resource for art historians and psychologists alike.
The letters may be a good resource for people coping with mental illness as well. Despite his tragic death, Vincent Van Gogh coped successfully with his mental illness for many years with the help of caring family members. The symptoms that Vincent carefully described in his letters are ones that many people with psychiatric problems need to wrestle with on a daily basis. His sad fate also demonstrates the need for prompt intervention and a good relationship between patients and their caregivers.
Would Vincent have been as great an artist with modern medical treatment available (including medication)? Could he have lived longer and provided the world with even more amazing paintings? Some questions can never be answered.