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" "..The thought crossed my mind, how society today in its fall, at moments seen against the light of a renewal, stands out as a large, gloomy silhouette. Yes, for me, the drama of storm in nature, the drama of sorrow in life, is the most impressive.
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 have had no “guidance or teaching” from others to speak of, but taught myself; no wonder my technique, considered superficially, differs from that of others. But that’s no reason for my work to remain unsaleable. I feel pretty sure that the large “Sorrow,” “The Old Woman of the Geest,” the “Old Man,” and others, will find a purchaser someday.
I fear that in a few years there may be a kind of 'panic', in this form: 'since Millet' we have sunk very low — the word decadence, now whispered or pronounced in veiled terms (see Herkomer), will then sound like an alarm bell. Many, like I myself, now keep quiet, because they already have the reputation of being awkward customers,5 and talking about it doesn't help. That — namely, talking — isn't what one needs to do — one must work, though with sorrow in the heart. Those who later cry out the loudest about decadence will themselves belong to it the most. I repeat: by this shall ye know them, [from: Matt. 7:16.] by their work, and it won't be the most eloquent who say the truest things. See Millet himself, see Herkomer, they're certainly not orators, and speak almost reluctantly.
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I hope.. ..to paint some in a lighter gamut, more flesh and blood, but, at the same time, I am trying to get a still stronger soft soap and copper-like effect. In reality I daily see, in the gloomy huts, effects against the light or in the evening twilight.. ..which I compare to soft soap and brass color of a worn-out 10 centime piece.