The degeneration of the subject picture, then, into a mere illustration of some passing event or ephemeral sentiment, had a deeper significance than even its bitterest enemies recognized. For while they, as new technicians seeking light and complementaries and values, deplored the spiritless and uninspired “oliographs” of their academical contemporaries, they completely overlooked the deeper truth; their artistic instincts were not strong enough to make them see that the spiritless and uninspired subject picture was the most poignant proof that could be found of the fact that mankind no longer possessed, to any passionate or intense degree, that which made the subject picture possible—that is to say, a profound faith in something greater and more vital either than the artists themselves or their art, something which gave not only art but also life a meaning and a purpose.
This, as I have pointed out elsewhere, was the great oversight of the revolutionary movement in Art of the second half of the nineteenth century. In abusing the degenerate “subject” picture, these innovators were simply inveighing against a pathological symptom. In saying the subject did not matter, they deliberately scouted the responsibility of eradicating or even of confronting the evil; while in concentrating upon technique and in finding their inspiration in such secondary matters as the treatment of light, values, and complementaries, besides revealing the poverty of their artistic instincts they merely delayed the awakening which was bound to come and which already to-day is not so very far distant—the awakening to the fact that the artist, the architect, the painter, the poet, and the preacher, are bankrupt unless some higher purpose and direction, some universal aim and aspiration, animate their age, inspire them in their work, and kindle in them that necessary passion for a particular type of man, on which they may lavish their eloquence, their chromatic, musical, architectural, or religious rhetoric with conviction, power, and faith.
Where does Van Gogh stand in this revolutionary drama which I have attempted briefly to sketch in the above lines?
Without esteeming him nearly so highly as many of his most enthusiastic admirers do, and without sharing in the least in that hysterical exaggeration of the value and beauty of his works which has characterized the attitude of large numbers of his followers on the Continent—an exaggeration which, as I shall show, he would have been the first to deprecate and to condemn—I must still confess that, as an impressionist, i.e., as a revolutionary of the ’eighties who, to my mind, strove to surpass impressionism, as also so-called post-impressionism, he is a painter for whom I feel a much greater respect than I can feel for Manet, Monet, Renoir, Degas, and Whistler. Let me make it quite plain that I realize the superiority in some respects of the latter’s art-forms; let me emphasize the fact that in my opinion Van Gogh was by no means so mature in his procedure as any one of these artists (save, perhaps, in so far as his drawing far excelled Renoir’s); but that his aims were higher and more vital, that he realized more keenly what was wrong and what was desirable, that he was a thousand times more profound than his predecessors—of all these things, after careful consideration, and I must admit grave doubts, I have at last grown quite convinced.
Before proceeding with my argument, let me lay stress on the point that I feel very little sympathy whatever with any of these impressionists, art-form-maniacs, and their followers inasmuch as they obscured the issues at the very moment—half way through the last century—when the issues were growing so plain that they must have found a solution sooner or later. But, if we are going to speak of preferences, if in a gingerly manner we are going to put on gloves and draw out from among this crowd the men whom we feel we can tolerate most readily, then, from the sculptor Rodin to his friend Renoir, of all the names that are now household words in the impressionistic and post-impressionistic movement of the late nineteenth century, I for my part, certainly select Van Gogh and, perhaps a little way before him, his friend Gauguin, as the only two whom I can contemplate with equanimity—not to speak of approval.
In judging Van Gogh, one of the critic’s greatest difficulties is, in the first place, to see a sufficient number of his pictures; for he passed through so many phases that isolated examples of his work may prove merely misleading. Now, thanks to the Post-Impressionist Exhibition of 1910–1911 in London, the Sonderbund Austellung in Cologne (1912), and a visit to Amsterdam, I have been able to see about 200 of Van Gogh’s paintings, and about a quarter as many drawings; but when one remembers that the largest exhibition of his work which has ever been held contained some 450 pictures alone, not to speak of drawings, it will be seen that to be acquainted with 200 of his works is a long way from possessing a complete knowledge of what he achieved. Still the specimens I have seen I believe to have been thoroughly representative, and in any case sufficient to warrant my forming an opinion as to his merits.
Van Gogh died when he was only thirty-seven years of age, and Emile Bernard reminds us that though he always used to draw, he really did not give his attention wholly to painting until the year 1882—that is to say, when he was fully twenty-nine years old. About this time he writes to his brother: “In a sense I am glad that I never learned to paint. … I really do not know how to paint. Armed with a white panel I take up a position in front of the spot that interests me, contemplate what lies before me, and say to myself, ‘that white panel must be turned into something!’ ” And concerning two studies finished at this period, he says: “I feel quite certain that on looking at these two pictures, no one will ever believe that they are the first studies I have ever painted” (pages 15 and 4).
It is true that in the early ’eighties he studied a little with Mauve, who was a distant relative, and later on spent some time at the Academy at Antwerp; but, on the whole, like Gauguin, he was self-taught, and when we reckon the number of years during which this self-tuition lasted, we can but be amazed at the result, and believe him when he says that painting was in his very marrow (page 16).
A still more remarkable fact about Van Gogh is, however, that during the last eight years of his life—the only years, that is to say, in which he may really be said to have devoted himself entirely to painting, whether at the Hague, Drenthe, Nuenen, Antwerp, Paris, Arles, San Remy, or Auvers-sur-Oise—he practically epitomised in his own work the whole of the development of modern painting, from the academical manner of his own day, to a style which I maintain was on the point of bearing him far beyond the impressionists and so-called post-impressionists. And when I say “far beyond the impressionists and so-called post-impressionists,” I do not mean it in the accepted sense of this phrase, I do not mean that with Gauguin he promised to land in any of the futile absurdities with which those artists that were hung beside them provoked the mirth of London at the famous exhibition at the Grafton Galleries in 1910–1911. I mean it in this case as something peculiar to Van Gogh and Gauguin alone—something which I shall explain in due course and which I regard as valuable and worthy of a more sound artistic instinct than that possessed by all their contemporaries.
I have myself seen pictures which I could not help thinking must have been painted in Van Gogh’s academic period; Meier Graefe even thinks that Van Gogh’s work of this period is likely to rise in public esteem; I have little doubt, therefore, that Van Gogh did go through an academic stage, however short or however undistinguished it may have been.[5]
And as for his purely impressionistic period, pictures of this stage of his development abound. “The Moulin de la Galette,” and a still-life, “Basket and Apples,” in the possession of Frau A. G. Kröller, the “View’ of Paris from Montmartre,” belonging probably to the family, and the wonderful “Apples in a Basket” dedicated to his friend Lucien Pissaro, in the possession of Frau Kröller—all seem to belong to this period; and they are by no means incompetent or unworthy examples of the school of which they are examples.
At this stage he had the same contempt as all modernists had for academicians, and we find him endorsing Jacques’ words that they are “mere illustrators!” It is now that he feels that light, and truth, and transcripts of nature matter tremendously. He says he has done with “grays” and with Mauve and Israels as well (page 48).
He enters heart and soul into a study of nature—no pains are too great, no sacrifices too heavy, provided only that he may become “absorbed in’ nature,” and thoroughly at ease as her interpreter. Possessed as