Vincent van Gogh Quotes

For my part, I know nothing with any certainty, but the sight of the stars makes me dream in the same simple way as I dream about the black dots representing towns and villages on a map.

After the crisis which I went through coming down here I can make no plans nor anything, I am decidedly better now, but hope, the desire to succeed is gone, and I work because I must, so as not to suffer too much mentally, so as to distract my mind.

All my work is in a way founded on Japanese art.. .Japanese art, in decadence in its own country, takes root again among the French impressionist artists.

Often I think of that excellent painter Monticelli,. ..when I come back myself from the mental labor of balancing the six essential colors.. ..sheer work and calculation, with one's mind utterly on the stretch, like an actor on the stage in a difficult part, with a hundred things at once to think of in a single half-hour.
Don't think that I would artificially keep up a feverish condition, but do understand that I am in the midst of a complicated calculation which results in quick succession in canvases quickly executed, but calculated long beforehand. So now, when anyone says that such and such is done too quickly, you can reply that they have looked at it too quickly.

More and more it seems to me that the pictures which must be painted to make present-day painting completely itself... are beyond the power of one isolated individual. They will therefore probably be created by groups of men combining together to execute an idea held in common.

Here's what I wanted to say about the white and the black [tones]. Let's take 'The Sower'. The painting is divided into two; one half is yellow, the top; the bottom is violet. Well, the white trousers [Van Gogh darked them later!] rest the eye and distract it just when the excessive simultaneous contrast of yellow and violet would annoy it. That's what I wanted to say.

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.

About staying in the south, even if it's more expensive — Look, we love Japanese painting, we've experienced its influence — all the Impressionists have that in common — and we wouldn't go to Japan, in other words, to what is the equivalent of Japan, the south? So I believe that the future of the new art still lies in the south after all. But it's bad policy to live there alone when two or three could help each other to live on little.

There is no blue without yellow and without orange, and if you put in blue, then you must put in yellow, and orange too, mustn't you? Oh well, you will tell me that what I write to you are only banalities.

..You know that I think a society of impressionists would be a good thing of the same nature as the Society of the Twelve English Pre-Raphaelites, and I think that it could come into existence. Then I incline to think that the artists would guarantee mutually among themselves a livelihood, each consenting to give a considerable number of pictures to the Society, and that the gains as well as the losses should be taken in common.

I was certainly going the right way for a stroke when I left Paris. I paid for it nicely afterwards! When I stopped drinking, when I stopped smoking so much, when I began again to think instead of trying not to think - good Lord, the depression and the prostration of it! Work in these magnificent natural surroundings [of Arles ] has helped my morale.

Of all the colors I ordered: the three chromes, the Prussian blue, the emerald, the crimson lakes, the malachite green, all the orange lead, hardly one of them is to be found on the Dutch palette, in Maris, in Mauve or Israels - [all contemporaries of Vincent, Dutch painters of the Hague School.]

I am not working for myself alone, I believe in the absolute necessity for a new art of color, of design, and - of the artistic life..

I brought home a no.15 canvas today, it's a drawbridge, with a little carriage going across it, outlined against a blue sky — the river blue as well, the banks orange with greenery, a group of washerwomen wearing blouses and multicoloured bonnets.. .But, my dear brother — you know, I feel I'm in Japan. I say no more than that, and again, I've seen nothing yet in its usual splendour. That's why (even while being worried that at the moment expenses are steep and the paintings of no value), that's why I don't despair of success in this enterprise of going on a long journey in the south. Here I'm seeing new things, I'm learning..

It seems to me almost impossible to work in Paris [he just left Paris] unless one has some place of retreat where one can revive oneself and get back one's tranquility and poise. Without that one would get hopelessly brutalized.