By March 1882, Mauve appears to have gone cold towards Van Gogh, and stopped replying to his letters. He had learned of Van Gogh's new domestic arrangement with an alcoholic prostitute, Clasina Maria "Sien" Hoornik (1850–1904), and her young daughter. Van Gogh had met Sien towards the end of January 1882, when she had a five-year-old daughter and was pregnant. She had previously borne two children who died, but Van Gogh was unaware of this; on 2 July, she gave birth to a baby boy, Willem. When Van Gogh's father discovered the details of their relationship, he put pressure on his son to abandon Sien and her two children. Vincent at first defied him, and considered moving the family out of the city, but in late 1883, he left Sien and the children.
Fifteen canvases depict cypresses, a tree he became fascinated with in Arles. He brought life to the trees, which were traditionally seen as emblematic of death. The series of cypresses he began in Arles featured the trees in the distance, as windbreaks in fields; when he was at Saint-Rémy he brought them to the foreground. Vincent wrote to Theo in May 1889: "Cypresses still preoccupy me, I should like to do something with them like my canvases of sunflowers"; he went on to say, "They are beautiful in line and proportion like an Egyptian obelisk."
During the first days of his treatment, Van Gogh repeatedly and unsuccessfully asked for Gauguin, who asked a policeman attending the case to "be kind enough, Monsieur, to awaken this man with great care, and if he asks for me tell him I have left for Paris; the sight of me might prove fatal for him." Gauguin fled Arles, never to see Van Gogh again. They continued to correspond and in 1890 Gauguin proposed they form a studio in Antwerp. Meanwhile, other visitors to the hospital included Marie Ginoux and Roulin.
Van Gogh's mother came from a prosperous family in The Hague, and his father was the youngest son of a minister. The two met when Anna's younger sister, Cornelia, married Theodorus's older brother Vincent (Cent). Van Gogh's parents married in May 1851 and moved to Zundert. His brother Theo was born on 1 May 1857. There was another brother, Cor, and three sisters: Elisabeth, Anna, and Willemina (known as "Wil"). In later life Van Gogh remained in touch only with Willemina and Theo. Van Gogh's mother was a rigid and religious woman who emphasised the importance of family to the point of claustrophobia for those around her. Theodorus's salary was modest, but the Church supplied the family with a house, a maid, two cooks, a gardener, a carriage and horse, and Anna instilled in the children a duty to uphold the family's high social position.
In 1944, Paul Van Doren dropped out of intermediate school in 8th Grade at age fourteen when he realized he didn’t like school. He had a strong passion for horses and found his way to the race track where he earned the nickname “Dutch the Clutch”, and for just one dollar he would give you the odds of the race. Paul’s mother, Rena, did not enjoy the idea of Paul being without a job and not in school, so she insisted he get a job at Randy’s, a one-time shoe manufacturer in the US. His job entailed sweeping the floors and making shoes. Paul eventually worked his way up the ladder and became the executive vice president at just 34 years old. Randy’s became one of the biggest shoe manufacturers in the US From Van Doren’s quick success in Massachusetts, he was ordered to turn around a failing Randy’s factory in Garden Grove, California that was losing close to a million dollars each month. Paul and his brother Jim moved their families and settled in Anaheim to help the factory. After just eight months of being in Garden Grove, the factory was functioning better than the one in Massachusetts. Three months after trying to have the Garden Grove factory, Paul decided he wanted to start his own shoe brand.
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Van Gogh stayed within what he called the "guise of reality", and was critical of overly stylised works. He wrote afterwards that the abstraction of Starry Night had gone too far and that reality had "receded too far in the background". Hughes describes it as a moment of extreme visionary ecstasy: the stars are in a great whirl, reminiscent of Hokusai's Great Wave, the movement in the heaven above is reflected by the movement of the cypress on the earth below, and the painter's vision is "translated into a thick, emphatic plasma of paint".
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