Because the most sensational events of van Gogh’s life—the conflicts with Gauguin, the mutilation of his left ear, and the suicide—are thinly documented and layered with apocrypha and anecdote, there is a trend in van Gogh studies to penetrate the layers of myth by reconstructing the known facts of the artist’s life. This scholarly analysis has taken many forms. Medical and psychological experts have examined contemporary descriptions of his symptoms and their prescribed treatments in an attempt to diagnose van Gogh’s condition (theories suggest epilepsy, schizophrenia, or both). Other scholars have studied evidence of his interaction with colleagues, neighbours, and relatives and have meticulously examined the sites where van Gogh worked and the locales where he lived. In light of van Gogh’s continually increasing popularity, scholars have even deconstructed the mythologizing process itself. These investigations shed greater light on the artist and his art and also offer further proof that, more than a century after his death, van Gogh’s extraordinary appeal continues to endure and expand.
Van Dyke grew up in Danville, Illinois, with his parents Loren and Hazel and younger brother, Jerry, who also became an actor. "Danville was a town of 30,000 people, and it felt as if most of them were relatives," Van Dyke later wrote in his autobiography, My Lucky Life In and Out of Show Business. His father, Loren, was often away from the family, working as a traveling salesman for the Sunshine Cookie Company.
Van Gogh moved to Paris in March 1886 where he shared Theo's rue Laval apartment in Montmartre, and studied at Fernand Cormon's studio. In June the brothers took a larger flat at 54 rue Lepic. In Paris, Vincent painted portraits of friends and acquaintances, still life paintings, views of Le Moulin de la Galette, scenes in Montmartre, Asnières and along the Seine. In 1885 in Antwerp he had become interested in Japanese ukiyo-e woodblock prints, and had used them to decorate the walls of his studio; while in Paris he collected hundreds of them. He tried his hand at Japonaiserie, tracing a figure from a reproduction on the cover of the magazine Paris Illustre, The Courtesan or Oiran (1887), after Keisai Eisen, which he then graphically enlarged in a painting.
"I'm having the best so-called retirement of anyone I know, doing what I love doing," Van Dyke told BroadwayWorld.com in late 2010. "Eventually, I may try something less strenuous." The following year, he published a printed version of his story in My Lucky Life In and Out of Show Business. Van Dyke shares his ups and downs in the book—including his struggles with alcoholism—with remarkable optimism and poise.
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Dick Van Dyke was born Richard Wayne Van Dyke in West Plains, Missouri, to Hazel Victoria (McCord), a stenographer, and Loren Wayne Van Dyke, a salesman. His younger brother is entertainer Jerry Van Dyke. His ancestry includes English, Scottish, German, Swiss-German, and Dutch. Although he'd had small roles beforehand, Van Dyke was launched to ... See full bio »
After the altercation with Gauguin, Van Gogh returned to his room, where he was assaulted by voices and severed his left ear with a razor (either wholly or in part; accounts differ),[note 9] causing severe bleeding. He bandaged the wound, wrapped the ear in paper, and delivered the package to a woman at a brothel Van Gogh and Gauguin both frequented. Van Gogh was found unconscious the next morning by a policeman and taken to hospital, where Félix Rey, a young doctor still in training, treated him. The ear was delivered to the hospital, but Rey did not attempt to reattach it as too much time had passed.
Albert Aurier praised his work in the Mercure de France in January 1890, and described him as "a genius". In February Van Gogh painted five versions of L'Arlésienne (Madame Ginoux), based on a charcoal sketch Gauguin had produced when she sat for both artists in November 1888.[note 10] Also in February, Van Gogh was invited by Les XX, a society of avant-garde painters in Brussels, to participate in their annual exhibition. At the opening dinner a Les XX member, Henry de Groux, insulted Van Gogh's work. Toulouse-Lautrec demanded satisfaction, and Signac declared he would continue to fight for Van Gogh's honour if Lautrec surrendered. De Groux apologised for the slight and left the group. Later, while Van Gogh's exhibit was on display with the Artistes Indépendants in Paris, Claude Monet said that his work was the best in the show. After the birth of his nephew, Van Gogh wrote, "I started right away to make a picture for him, to hang in their bedroom, branches of white almond blossom against a blue sky."
Van Gogh wrote that with The Night Café he tried "to express the idea that the café is a place where one can ruin oneself, go mad, or commit a crime". When he visited Saintes-Maries-de-la-Mer in June, he gave lessons to a Zouave second lieutenant – Paul-Eugène Milliet – and painted boats on the sea and the village. MacKnight introduced Van Gogh to Eugène Boch, a Belgian painter who sometimes stayed in Fontvieille, and the two exchanged visits in July.
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The police found van Gogh in his room the next morning, and admitted him to the Hôtel-Dieu hospital. Theo arrived on Christmas Day to see van Gogh, who was weak from blood loss and having violent seizures. The doctors assured Theo that his brother would live and would be taken good care of, and on January 7, 1889, van Gogh was released from the hospital.
I've found a home here because actors have always said, 'He's really a dancer', and dancers said, 'No, no he's a singer', and singers said, 'No I think he's an actor.' I don't know, I was never that good at anything but I did a little bit of it all. I've never studied dancing but I've always loved to dance. I never sang anywhere except the shower and it took me forever to get into the high school choir. When I auditioned for Bye Bye Birdie (1963) I did a song and a little soft-shoe and for some reason they saw I could move. And I've never studied acting - which is maybe lucky otherwise I'd just be a copy of everybody else.
By this time van Gogh was ready for such lessons, and the changes that his painting underwent in Paris between the spring of 1886 and February 1888 led to the creation of his personal idiom and style of brushwork. His palette at last became colourful, his vision less traditional, and his tonalities lighter, as may be seen in his first paintings of Montmartre. By the summer of 1887 he was painting in pure colours and using broken brushwork that is at times pointillistic. Finally, by the beginning of 1888, van Gogh’s Post-Impressionist style had crystallized, resulting in such masterpieces as Portrait of Père Tanguy and Self-Portrait in Front of the Easel, as well as in some landscapes of the Parisian suburbs.