Vincent was voluntary committed to St. Paul de Mausole asylum, diagnosed with a form of epilepsy, a diagnosis which still stands today. There are some who think the epilepsy and madness were part and parcel of one another, but in fact modern psychologists have also offered a diagnosis of bi-polar disorder, or manic depressive as it is formerly known. While one may have aggravated the other, the two disorders are mutually exclusive, and at that time there was not the advanced medical treatment for either one that is so readily available now. Vincent’s life-long severe highs and lows are so apparent in his art and his letters and his relationship history, but evidence of his epilepsy only comes in what, for him, was late in life. It was perhaps brought on or worsened by his addiction to absinthe, a high-proof liqueur so controversial, it has not been available in most European countries and the U.S. since just before World War I.
Vincent resumed painting, painted “Starry Night” while here. Theo married Johanna Bonger that spring, and his health, which had always been precarious, was worsening. Through the fall and the rest of 1889, they both stabilized somewhat, and Theo arranged an exhibition, “Les XX” in Brussells, featuring six of Vincent’s paintings. Vincent was enthusiastic and productive.
1890 began with extreme highs and lows for Vincent. In January, Theo made the first-ever sale of one of Vincent’s paintings (“Red Vineyard”) for 400 francs. (It was the only one of his paintings to sell during his lifetime.) He was the subject of a favorable January 1890 article called “The Isolated Ones”, written by art critic Albert Aurier which linked him to the Symbolist art movement. At the same time, Vincent’s seizures increased in frequency and severity, depleting his mental and physical health. Just as his health was reaching its lowest level, Vincent’s art began receiving critical acclaim, which only depressed him and made him long to be nearer Theo. This longing was made more poignant as Theo’s wife Johanna gave birth to a son on January 31, whom they named Vincent Willem after him.
Wheat Field with Cypresses - September 1889
Vincent resumed painting, painted “Starry Night” while here. Theo married Johanna Bonger that spring, and his health, which had always been precarious, was worsening. Through the fall and the rest of 1889, they both stabilized somewhat, and Theo arranged an exhibition, “Les XX” in Brussells, featuring six of Vincent’s paintings. Vincent was enthusiastic and productive.
1890 began with extreme highs and lows for Vincent. In January, Theo made the first-ever sale of one of Vincent’s paintings (“Red Vineyard”) for 400 francs. (It was the only one of his paintings to sell during his lifetime.) He was the subject of a favorable January 1890 article called “The Isolated Ones”, written by art critic Albert Aurier which linked him to the Symbolist art movement. At the same time, Vincent’s seizures increased in frequency and severity, depleting his mental and physical health. Just as his health was reaching its lowest level, Vincent’s art began receiving critical acclaim, which only depressed him and made him long to be nearer Theo. This longing was made more poignant as Theo’s wife Johanna gave birth to a son on January 31, whom they named Vincent Willem after him.
Wheat Field with Cypresses - September 1889
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