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You know what I want. If I may become a clergyman, if I fulfill that position so that my work is equal to that of our Father [who was a clergy-man], … - Vincent van Gogh
" "You know what I want. If I may become a clergyman, if I fulfill that position so that my work is equal to that of our Father [who was a clergy-man], then I shall thank God. I have good hope that I shall succeed, it was once said to me by someone who was further on in life than I, and who was no stranger in Jerusalem:.. .I believe that you are a Christian, you see, it was so good for me to hear those words.. .It is good to believe that there is a God who knows what we need, better than we know it ourselves, and who helps us when we need help. It is also good to believe that, just as in the olden days, now, too, an angel is not far from those who feel godly sorrow.. .I've carefully read the story of Elijah so often, and so often has it given me strength up to now: [Vincent then quotes 1 Kings 19:3-15, leaving out all but the beginning of verses 14 and 15]
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About Vincent van Gogh
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.
Biography information from Wikiquote
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Vincent Willem van Gogh
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van Gogh
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Additional quotes by Vincent van Gogh
I have [drawings of] about twelve figures of diggers and men who are working in a potato field, and I wonder if I could not make something of it, you have still a few, for instance, a man who fills a bag with potatoes. Well, I do not know for sure, but sooner or later I shall accomplish that, for I looked at it so attentively this summer, and here in the dunes I could make a good study of the earth and the sky, and then boldly put in the figures.
Paul Gauguin, that curious artist, that alien whose mien and the look in whose eyes vaguely remind one of Rembrandt's 'Portrait of a Man' in the Galerie Lacaze — this friend of mine likes to make one feel that 'a good picture is equivalent to a good deed'; not that he says so, but it is difficult to be on intimate terms with him without being aware of a certain moral responsibility. A few days before we parted, when illness forced me to enter an asylum, I tried to paint 'his empty place'. It is a study of his armchair of dark, red-brown wood, the seat of greenish straw, and in the absent person's place a lighted candlestick and some modern novels.
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Yalnızca ressamları ele alacak olursak, ölmüş, gömülmüş olanlar da yapıtları aracılığıyla bir sonraki ya da birbirini izleyen birkaç kuşağa bir şeyler söyleyebiliyorlar.
Hepsi bu mu, yoksa daha fazlası var mı? Bir ressamın yaşamında en zor şey ölüm değildir belki de.
Kendi payıma, bu konuda bir şey bilmediğimi kabul ediyorum. Ama yıldızlara baktığımda düşlere dalıyorum, tıpkı bir haritada kentleri ve köyleri gösteren siyah noktalara bakarken düşlere daldığım gibi. Neden, diye soruyorum kendime, gökte pırıl pırıl parlayan noktalar da Fransa haritasındaki kara noktalar kadar ulaşılabilir olmasın? Bizi Tarascon ya da Rouen'a nasıl bir tren götürüyorsa, yıldızlara da ölüm götürür. Bu düşüncede kuşkusuz doğru olan bir şey varsa, o da şu: Yaşadığımız sürece yıldızlara varamayız, nasıl ki öldükten sonra trene binemeyiz, öyle.
Dolayısıyla, kolera, böbrek taşları, verem, kanser gibi şeyler göksel ulaşım araçlarıdırlar gibi geliyor bana; vapur, otobüs, tren türünden yeryüzü ulaşım araçları gibi aynı... Yaşlılık yüzünden sessizce ölmek oraya yürüyerek gitmek gibi bir şey.
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