"Öte yandan Kee'ye duyduğum sevgi çok yeni ve çok başka şey. Kendisi farkında değil ama, bir tür hapishanede oturuyor. O da yoksul, keyfinin istediğini yapabilecek durumda değil ve her şeyden vazgeçen bir tür tevekküle bırakmış kendini... Ayrıca din adamları, dindar hanımlar, sanıyorum beni etkilediklerinden çok daha fazla etkiliyorlar onu. Ben o gibilerin elinden kurtuldum artık, çünkü numaralarını çakmayı öğrendim; ama o hala inanıyor ve de tevekkül, günah, Tanrı ve daha kimbilir nelerden kurulmuş olan sistemin boş laftan başka bir şey olmadığı ortaya çıkarsa, yıkılır.
Korkarım bir türlü anlamadığı şeylerden biri de gerçekte Tanrı'nın ne zaman, nerede var olmaya başladığı... Belki de Multatuli'Nin İmansızın Duası'nı bitirirken söylediği sözleri söylediğimiz zaman vardır Tanrı: "Ah Tanrım, Tanrı yok." Din adamlarının Tanrısı benim için bir kapı tokmağı kadar cansız. Bu durumda ate mi oluyorum şimdi? Din adamlarına sorarsan, öyle görüyorlar beni -öyle olsun- ama ben seviyorum, yaşamasaydım, başkaları da yaşamasaydı, nasıl sevgi duyardım? Ve eğer yaşıyorsak, işin içinde bir esrarlı yan var. Buna ister Tanrı de, ister insan tabiatı, ister başka bir ad ver, son derece canlı ve gerçek olduğu halde sistematik biçimde tanımlayamadığım bir şey var ki bence Tanrı O -ya da en az Tanrı kadar önemli bir şey..."
Dutch painter (1853–1890)
Vincent Willem van Gogh (30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist painter who posthumously became one of the most famous and influential figures in Western art history. In a decade, he created about 2,100 artworks, including around 860 oil paintings, most of which date from the last two years of his life. They include landscapes, still lifes, portraits, and self-portraits, and are characterised by bold colours and dramatic, impulsive and expressive brushwork that contributed to the foundations of modern art. Not commercially successful, he struggled with severe depression and poverty, eventually leading to his suicide at age thirty-seven.
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I'd like you to spend some time here, you'd feel it — after some time your vision changes, you see with a more Japanese eye, you feel colour differently. I'm also convinced that it's precisely through a long stay here that I'll bring out my personality. The Japanese [like a. o. Hokusai, admired by Vincent] draws quickly, very quickly, like a flash of lightning, because his nerves are finer, his feeling simpler. I've been here [Arles] only a few months but — tell me, in Paris would I have drawn in an hour the drawing of the boats?.. .Now this [sketch] was done without measuring, letting the pen go. So I tell myself that gradually the expenses will be balanced by work.
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If there is anything I regret then it is that period when I allowed mystical and theological profundities to mislead me into withdrawing too much into myself.
…..When you wake up in the morning and find you are not alone but can see a fellow creature there in the half-light, it makes the world look so much more welcoming. Much ,more welcoming than the devotional journals and whitewashed church walls beloved of clergymen.
All the same, I'm sure that if one is brave then recovery comes from within, through complete acceptance of suffering and death, and through the surrender of one's will and love of self. But that's no good to me, I like to paint, to see people and things and everything that makes our life — artificial, if you like. Yes, real life would be something else, but I don't think I belong to that category of souls who are ready to live, and also ready to suffer, at any moment.
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What is true is that I have at times earned my own crust of bread, and at other times a friend has given it to me out of the goodness of his heart. I have lived whatever way I could, for better or for worse, taking things just as they came. It is true that I have forfeited the trust of various people, it is true that my financial affairs are in a sorry state, it is true that the future looks rather bleak, it is true that I might have done better, it is true that I have wasted time when it comes to earning a living, it is true that my studies are in a fairly lamentable and appalling state, and that my needs are greater, infinitely greater than my resources. But does that mean going downhill and doing nothing?
What else can one do, when we think of all the things we do not know the reason for, than go look at a field of wheat? The history of those plants is like our own; for aren't we, who live on bread, to a considerable extent like wheat, at least aren't we forced to submit to growing like a plant without the power to move, by which I mean in what way our imagination impels us, and to being reaped when we are ripe, like the same wheat?