Two Lovers, Arles, 1888
Vincent van Gogh expressed his soul and world view allegorically- “in other speech”- We can guess perhaps his rejection from his religious denomination pushed him to defy the idea that he is not fit to be a preacher. - What do you express allegorically that is a direct reaction to a rejection or a failed dream or ambition that wont die but had to or can only live allegorically? If so, do you feel like a loser or a mediocre? Well, consider Van Gogh’s embodiment of work and what would your embodiment of work, ministry and life be like?
Praying with Vincent van Gogh
Praying with van Gogh is praying with an icon. An image of a man for whom spiritual fervor brought him on the depths of his soul. St. Paul, St. Francis, Thomas a Kemphis and Zola influenced him outside of his Reformed Dutch theology. A metaphoric van Gogh can guide us into the depths of our soul. Why are we drawn to Vincent, the eccentric, and insane- his life and work- his reckless abandonment, and religious mania? What does he have that we long for? His religion and art are intrinsically integrated. His art are expression of everyday spirituality illustrated in his art always touching the hem of the divine.
Starry Night, 1889, Saint Remy “ I once saw a beautiful picture: it was a landscape, in the evening. Far in the distance, on the right, hills, blue in the evening mist. Above the hills, a glorious sunset, with the grey clouds edged with silver and gold and purple. The landscape is flatland or heath, covered with grass; the grass-stalks are yellow because it was autumn. A road crosses the landscape, leading to a high mountain far, far away; on the summit of the mountain, a city, lit by the glow of the setting sun. Along the road goes a pilgrim, his staff in his hand. He has been on his way for a very long time and is very tired. And then he encounters a woman, or a figure in black, reminiscent of St. Paul’s phrase: ‘in sorrow, yet ever joyful’, This angel of God has been stationed there to keep up the spirits of pilgrims and answer their questions. And the pilgrim asks: ‘Does the road wind uphill all the way?’ To which comes the reply: ‘Yes, to the very end.’ And he asks another question: ‘Will the day’s journey take the whole long day?’ And the reply is: ‘From morn to night, my friend.’ And the pilgrim goes on, in sorrow, yet ever joyful.” - Excerpt of Vincent van Gogh’s first sermon he preached, October, 1876, at Isleworth.
Old Man in Sorrow ( On the Threshold of Eternity), 1890
In his first sermon at Isleworth, , “in sorrow yet ever joyful” was a scripture he learned from St. Paul. Thomas a Kemphis’ Imitation of Christ was his life text and considered Kemphis a mentor. Illustrations, allegories and symbols from his first sermon can be seen- to a keen observerin all of his works. Vincent van Gogh anguished praying for the people and in this piece “Eternity”, - Can you see Kemphis’ or St. Paul’s influence? - What prayers are being evoked in you on a personal level?
The Potatoe Eaters 1885
Vincent van Gogh considered The Potatoe Eaters his greatest work. What do you think? It is probably not your favorite Van Gogh, right? Why do you think he consider this his greatest? Let’s hear from the master himself: “ Paintings needed to be created ‘with willpower, feeling, passion and love’ and not with the hair-splitting subtleties ‘ of these experts who are acting more important than ever nowadays, using the word ‘ technique’ that is so often practically meaningless.” Art could meet the world it served in sensitivity towards the simple and of course positive life of the underpriviledged. The technology of the machine age and the technique of academic rules were both aimed at destroying that way of life ( . . .) “ instead of saying: a man digging must have character, I prefer to express it in a different way, saying: this peasant must be a peasant, this man digging must be digging ( . . . ) Everyday drudgery had left its mark on the faces of these people. ( . . . ) a painting conceived in the modern spirit had to highlight these facts if it was to give a characteristic account of the times. It had to be ugly, coarse, authentic ( . . .) - from Letter 418 - Our era is image-saturated and in relative terms, avant garde’s could be someone who does not have any kind of training- just a photoshop, a smart phone camera and you can make art and copy other art. - How do you think that influences your spirituality?
Vincent’s Bedroom, Arles, 1888
A Pair of Shoes, 1886
“ And now, when each one of us returns to everyday life, to everyday duties, let us not forget that things are not what they seem to be, that God is using the things of everyday life to instruct us in higher things, that our life is a pilgrimage and we are strangers on this earth, but also that we have a God, a Father, who offers shelter and protection to strangers.” - Vincent van Gogh from his first sermon at Isleworth.
Noon: Rest from Work, 1890, St. Remy
Vincent was influenced by Milet among other artists. In this painting “ Noon: Rest from Work”. What a powerful metaphor today where rest and laying down your tools- sickle and shoes- during the course of a work day are becoming an obsolete practice. Or, when on a lunch break for instance, rest and laying down the tools are unheard of, instead, technologies and other distraction keeps us from rest. What is the rhythm of your life, work? Do you respect time and what time calls for? I recommend certain spiritual disciplines to help you stop the non-stop and free you from your attraction to distraction. Prayer practices like “ The Prayer of Examen, Centering Prayer, Breath Prayer and apophatic prayer practices. The practice of praying the Divine Office- lauds, mid-day prayer, vesper and compline prayer are prayer times to stop us and to take a step back- to retreat- and perhaps touch the hem of the divine in us.