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Van Gogh: A Power Seething
"I believe in the absolute necessity of a new art of colour, of drawing and—of the artistic life," Vincent van Gogh wrote to his brother Theo in 1888. "And if we work in that faith, it seems to me that there's a chance that our hopes won't be in vain." His prediction would come true. In his brief and explosively creative life—he committed suicide a few years later at the age of thirty-seven—Van Gogh made us see the world in a new way. His shining landscapes of Provence and somber portraits of workers shattered the relationship between light and dark, and his hallucinatory visions were so bright they nearly blinded the world. He was a great writer as well. In his six hundred–plus letters to Theo he chronicled with heartbreaking urgency his mental breakdowns, acrimonious family relations, and struggles with art dealers, who largely ignored him until the last years of his life. Shading this dark story is the artist’s acquaintance with prostitutes and penury, stormy scenes with his friend Paul Gauguin, and dissipated Parisian nights with Henri de Toulouse-Lautrec. Julian Bell’s passion for his subject brings the painter to life. Bell writes with slashing intensity, at once scholarly and defiantly partisan. “I have written this book out of my love for Vincent van Gogh, the uniquely exciting painter, and Vincent van Gogh, the letter writer of heart-piercing eloquence,” he declares. For Bell, Van Gogh was an artistic genius and he was a wonder of the world.
176 pages, Hardcover
First published October 14, 2014
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September 5, 2022Although the author is clearly enthusiastic about Van Gogh, this enthusiasm does not project on the reader. The painter's biography is presented in a rather chaotic manner, while the language is at times very awkward. It definitely does not live up to Van Gogh's greatness and tragedy.
July 1, 2018
This is a short little biography of Vincent Van Gogh, but it was enough for me. Such a sad, miserable life. Dealing constantly with poverty and mental illness. Almost no appreciation of his talents. Being a genius at such a cost doesn’t seem worth it.
At only 150 pages or so, this biography doesn’t attempt to be comprehensive, but it gives an overview of Van Gogh’s life, and provides an interesting glimpse into the mind that produced so much sublime art.
At only 150 pages or so, this biography doesn’t attempt to be comprehensive, but it gives an overview of Van Gogh’s life, and provides an interesting glimpse into the mind that produced so much sublime art.
March 19, 2016
My lovely niece gave me this book as a present; she knows me so well! I enjoyed traveling through the Netherlands and France with my good friend Vincent. This well written and highly foot noted book is only for the truest of fans.
July 25, 2018
Beautiful read.
Ultimately learned (through this and associated readings) that what prompted my charge to re-read and finish this book — Hannah Gadsby's narrative in Nanette , particularly the way that Van Gogh's work was influenced by his taking of the medication "digitalis" — was largely untrue, on several levels, so to try and clear up what will no doubt soon become some very popular misconceptions:
1. Van Gogh was given digitalis in 1889. He was explicitly NOT receiving treatment for his mental illness during his most prolific (and most acclaimed) period (~1886-1888) — this includes the painting of his "Sunflowers."
2. Van Gogh's love of the colour yellow was lifelong; he not only painted with intense yellows long before he was ever medicated, he had painted his house yellow. He called it "The Yellow House." Gauguin once said of his friend Van Gogh (before medication): "oh yes, he loved yellow ... those glimmers of sunlight rekindled his soul."
3. In order to experience the "colour-affecting" effects of digitalis, one would have to overdose on it. As Van Gogh's doctor had himself already written a treatise cautioning on the adverse effects of digitalis, which he had prescribed Van Gogh, it's unlikely he would have let Van Gogh overdose on it.
4. If Van Gogh had overdosed on digitalis he probably wouldn't have been able to paint.
5. His stay in the asylum and his medication coincided with his palette becoming more drab.
But Gadsby did touch on one very important and sometimes overlooked aspect of the artist: his relationship with his brother, who loved him, a man without whom Van Gogh would have never begun painting, nor would he have been able to continue painting.
A Power Seething is ultimately a beautiful story about brotherhood, propelled by the hundreds of letters left behind that Vincent had written to Theo.
While I'm dispelling misconceptions, however, here are some more:
6. Van Gogh (like Kafka, for whom this is also a misconception) didn't die in obscurity; he not only been lifelong friends with several successful artists (Gauguin, Toulouse, Seurat, Signac, Cormon, Émile Bernard), he had also, in his final years, become a pretty celebrated painter — Van Gogh actually hated this.
7. Van Gogh did not sell "only one" painting in his life. In all likelihood he sold several, even long before he gained popularity.
Ultimately learned (through this and associated readings) that what prompted my charge to re-read and finish this book — Hannah Gadsby's narrative in Nanette , particularly the way that Van Gogh's work was influenced by his taking of the medication "digitalis" — was largely untrue, on several levels, so to try and clear up what will no doubt soon become some very popular misconceptions:
1. Van Gogh was given digitalis in 1889. He was explicitly NOT receiving treatment for his mental illness during his most prolific (and most acclaimed) period (~1886-1888) — this includes the painting of his "Sunflowers."
2. Van Gogh's love of the colour yellow was lifelong; he not only painted with intense yellows long before he was ever medicated, he had painted his house yellow. He called it "The Yellow House." Gauguin once said of his friend Van Gogh (before medication): "oh yes, he loved yellow ... those glimmers of sunlight rekindled his soul."
3. In order to experience the "colour-affecting" effects of digitalis, one would have to overdose on it. As Van Gogh's doctor had himself already written a treatise cautioning on the adverse effects of digitalis, which he had prescribed Van Gogh, it's unlikely he would have let Van Gogh overdose on it.
4. If Van Gogh had overdosed on digitalis he probably wouldn't have been able to paint.
5. His stay in the asylum and his medication coincided with his palette becoming more drab.
But Gadsby did touch on one very important and sometimes overlooked aspect of the artist: his relationship with his brother, who loved him, a man without whom Van Gogh would have never begun painting, nor would he have been able to continue painting.
A Power Seething is ultimately a beautiful story about brotherhood, propelled by the hundreds of letters left behind that Vincent had written to Theo.
While I'm dispelling misconceptions, however, here are some more:
6. Van Gogh (like Kafka, for whom this is also a misconception) didn't die in obscurity; he not only been lifelong friends with several successful artists (Gauguin, Toulouse, Seurat, Signac, Cormon, Émile Bernard), he had also, in his final years, become a pretty celebrated painter — Van Gogh actually hated this.
7. Van Gogh did not sell "only one" painting in his life. In all likelihood he sold several, even long before he gained popularity.
February 4, 2025
Very small information dense biography of Vincent Van Gogh that can be read in a day or so.
Whilst the wording used is a bit lyrical and poetic at times, it does make the dense information it contains a comfortable and fast read. It also speaks much more to the mind than flat biographies you might be familiar with. Sometimes the writer gets very theatrical in his descriptions of colors and shapes. Though you could argue that that also fits in the world of Vincent.
The pacing is a little weird. Maybe due to it being mostly based on the letters written, with fairly little other sources used. This means that years or moments of which less or none letters exist (ex. childhood period, periods when letters are lost or never existed, periods when Vincent and Theo are together) are gone through much faster compared to the rest. Sometimes it makes sense, but some things like the last year he was alive are made to feel a bit rushed because of that.
I do wish there were a bit more pictures, especially when specific works that he makes are mentioned whenever deemed important. There are a couple images inserted in the middle on good glossy paper, but a lot more are mentioned than showed there.
Whilst the wording used is a bit lyrical and poetic at times, it does make the dense information it contains a comfortable and fast read. It also speaks much more to the mind than flat biographies you might be familiar with. Sometimes the writer gets very theatrical in his descriptions of colors and shapes. Though you could argue that that also fits in the world of Vincent.
The pacing is a little weird. Maybe due to it being mostly based on the letters written, with fairly little other sources used. This means that years or moments of which less or none letters exist (ex. childhood period, periods when letters are lost or never existed, periods when Vincent and Theo are together) are gone through much faster compared to the rest. Sometimes it makes sense, but some things like the last year he was alive are made to feel a bit rushed because of that.
I do wish there were a bit more pictures, especially when specific works that he makes are mentioned whenever deemed important. There are a couple images inserted in the middle on good glossy paper, but a lot more are mentioned than showed there.
February 12, 2020
Gritty with a deep discontent at its heart, this book displays a hard to admire portrait of Van Gogh. The yawning gap between art and its makers can be discouraging, and Bell's book does much to depict that.
December 11, 2019
Brief, grim life of the artist, sourced mainly from his many letters to his brother, Theo.
February 21, 2016
"'I am not an adventurer by choice but by fate.' That, literally--for the language here was English--is how Vincent described the pattern of his life, writing from Paris in 1886. Choice is for the free, who are able to push themselves forward. Fate is for the shackled, who get pushed from behind."
Bell writes a beautiful book about one of the most powerful forces in artistic expression. "Seething," obviously, is precisely chosen to encompass the oceanic psycho-emotional turmoil roiling within Vincent Van Gogh. This is a warmhearted delving into the evolution, and self-destruction, of a man desperately trying to find his place in the world of civilization, nature, and universal existence. So many of us can easily feel a kinship to this artist, if not based on the power-agency of sympathy, than most certainly with the emotive companionship of empathy. We are the outcasts, the nomads, the freaks, the ones at the end of every line, and yet we breathe fire and intensity, cast lightning from our fingertips, see the world in atom-bomb colors nobody else can see.
I'm sure there are no less than a million books written about Vincent. Several thousand psychoanalyzing his mindset, throwing hooks into absinthe and syphilis, heavy metals and toxic fumes, poor diet, worse hygiene, and genetic albatrosses. It's all fascinating hypotheticals, but ultimately it doesn't matter. What Bell focuses on is the journey of the person pushed by Fate, with land mines constantly thrown upon his path. Love, acceptance, family, and faith all play their torturous roles, just as they do in all of us. I was lucky enough to see Leonard Nimoy's one-man stage production of Vincent at Purdue University, another brilliant exploration of the man and his relations to the world around him.
As Theo wrote to their sister, "It appears as if there are two different beings in him, the one marvelously gifted, fine and delicate, and the other selfish and heartless."
As a youthful fine arts and art history student, I came to embrace the energy of Van Gogh early on, and to this day still marvel at him. Reading this book I felt compelled to pull out dusty old books of his works, Van Gogh's Van Goghs by the National Gallery of Art and Van Gogh and Gauguin: The Studio of the South by The Art Institute of Chicago. Of course I've seen his works in person, and sadly bought a coffee mug with The Starry Night on it, in my young naïveté, which I now acknowledge as the absolute bastardization and commodification of art; one more evil wrecked upon by society. When in a museum or gallery, keep your fucking phones in your pockets and stand witness to the art before you. Block out the distractions. Let each work suck you in like a portal through time. Lean in and study the brushstrokes as if you were seeing the fingers holding the brushes, gently, forcefully, methodically or chaotically applying paint, mixing hues into the fibers of the canvas, pushing lumps of it around with primal intensity. Can you smell the pigments, the linseed oil, the beads of sweat on skin?
This book, in hand, will garner attention, be it in a smokey coffeehouse or a bustling airport terminal, accentuated easily by a look of pure engagement, brow gently knitted, perhaps the shadow of a smirk at the corner of one's lips, if not more easily by the erotic line of a woman's naked neck as she leans to one side, transfixed by the text before her. I'm sure there are a dozen words in French to describe the magic and might of a woman enthralled by such a book.
This will be a wonderful addition to anyone's library, and makes for a very pleasant travel read.
I always feel that I am a traveler, going somewhere and to some destination.
If I tell myself that the somewhere and the destination do not exist, that seems to me very likely and reasonable enough.
The brothel keeper, when he kicks anyone out, has similar logic, argues it well, and is always right, I know. So at the end of the course I shall find my mistake. Be it so. I shall find then that not only the Arts, but everything else as well, were only dreams, that one's self was nothing at all.
Bell writes a beautiful book about one of the most powerful forces in artistic expression. "Seething," obviously, is precisely chosen to encompass the oceanic psycho-emotional turmoil roiling within Vincent Van Gogh. This is a warmhearted delving into the evolution, and self-destruction, of a man desperately trying to find his place in the world of civilization, nature, and universal existence. So many of us can easily feel a kinship to this artist, if not based on the power-agency of sympathy, than most certainly with the emotive companionship of empathy. We are the outcasts, the nomads, the freaks, the ones at the end of every line, and yet we breathe fire and intensity, cast lightning from our fingertips, see the world in atom-bomb colors nobody else can see.
I'm sure there are no less than a million books written about Vincent. Several thousand psychoanalyzing his mindset, throwing hooks into absinthe and syphilis, heavy metals and toxic fumes, poor diet, worse hygiene, and genetic albatrosses. It's all fascinating hypotheticals, but ultimately it doesn't matter. What Bell focuses on is the journey of the person pushed by Fate, with land mines constantly thrown upon his path. Love, acceptance, family, and faith all play their torturous roles, just as they do in all of us. I was lucky enough to see Leonard Nimoy's one-man stage production of Vincent at Purdue University, another brilliant exploration of the man and his relations to the world around him.
As Theo wrote to their sister, "It appears as if there are two different beings in him, the one marvelously gifted, fine and delicate, and the other selfish and heartless."
As a youthful fine arts and art history student, I came to embrace the energy of Van Gogh early on, and to this day still marvel at him. Reading this book I felt compelled to pull out dusty old books of his works, Van Gogh's Van Goghs by the National Gallery of Art and Van Gogh and Gauguin: The Studio of the South by The Art Institute of Chicago. Of course I've seen his works in person, and sadly bought a coffee mug with The Starry Night on it, in my young naïveté, which I now acknowledge as the absolute bastardization and commodification of art; one more evil wrecked upon by society. When in a museum or gallery, keep your fucking phones in your pockets and stand witness to the art before you. Block out the distractions. Let each work suck you in like a portal through time. Lean in and study the brushstrokes as if you were seeing the fingers holding the brushes, gently, forcefully, methodically or chaotically applying paint, mixing hues into the fibers of the canvas, pushing lumps of it around with primal intensity. Can you smell the pigments, the linseed oil, the beads of sweat on skin?
This book, in hand, will garner attention, be it in a smokey coffeehouse or a bustling airport terminal, accentuated easily by a look of pure engagement, brow gently knitted, perhaps the shadow of a smirk at the corner of one's lips, if not more easily by the erotic line of a woman's naked neck as she leans to one side, transfixed by the text before her. I'm sure there are a dozen words in French to describe the magic and might of a woman enthralled by such a book.
This will be a wonderful addition to anyone's library, and makes for a very pleasant travel read.
I always feel that I am a traveler, going somewhere and to some destination.
If I tell myself that the somewhere and the destination do not exist, that seems to me very likely and reasonable enough.
The brothel keeper, when he kicks anyone out, has similar logic, argues it well, and is always right, I know. So at the end of the course I shall find my mistake. Be it so. I shall find then that not only the Arts, but everything else as well, were only dreams, that one's self was nothing at all.
January 21, 2019
I wanted to learn about Van Gogh. I chose this particular book due to the exceeding length of Van Gogh: The Life (900+ pgs.) and Lust for Life (500+ pgs.). It was a long difficult read so karma got me I reckon. I have no doubt that Mr. Bell knows his Van Gogh. I also have no doubt that he did little to illuminate the man to me. Thus, perhaps I turn to the longer books previously mentioned. Kudos for the color plates and the kickass title though.
February 9, 2015
During the decade I lived in Chicago I used my membership at the Art Institute for every good reason (escaping work, cruising) but most of all for the collections themselves, including some masterworks by Van Gogh. I particularly recall a haunted self-portrait, and my sentimental favorite, Bedroom at Arles (the second version, as I discovered from Bell). Last summer in Amsterdam I made the obligatory visit to the Van Gogh Museum, which true to cliché left me gaping with wonder and emotion. Bell includes a small reproduction of one of the final paintings, Wheatfield under Thunderclouds – it's pretty, but nothing prepares you for the size and power of the original.
In Van Gogh's case more than most, the paintings are entwined with the painter's troubled life, swirls and studies of anguish applied to canvas, colors that ravish perception. Like Beethoven or Michelangeleo, Van Gogh is the archetype of the Tortured Artist, which made him difficult to bear. "It appears as if there are two different beings in him, the one marvelously gifted, fine and delicate, and the other selfish and heartless." (This from his brother Theo)
The desperate downward trajectory, the story of a genius watching himself disintegrate even as he creates great art, reminded me also of Nietzsche. Julian Bell's short study neither wallows in grief nor exalts it; it's a fine appreciation of what Vincent achieved, of his brother who made that work possible, and of his sister-in-law Johanna van Gogh-Bonger, who saved him for the rest of us.
In Van Gogh's case more than most, the paintings are entwined with the painter's troubled life, swirls and studies of anguish applied to canvas, colors that ravish perception. Like Beethoven or Michelangeleo, Van Gogh is the archetype of the Tortured Artist, which made him difficult to bear. "It appears as if there are two different beings in him, the one marvelously gifted, fine and delicate, and the other selfish and heartless." (This from his brother Theo)
The desperate downward trajectory, the story of a genius watching himself disintegrate even as he creates great art, reminded me also of Nietzsche. Julian Bell's short study neither wallows in grief nor exalts it; it's a fine appreciation of what Vincent achieved, of his brother who made that work possible, and of his sister-in-law Johanna van Gogh-Bonger, who saved him for the rest of us.
October 24, 2015
I’ve always been a fan of Vincent Van Gogh’s art. Reading “Van Gogh: A Power Seething” has given me a greater appreciation for the artist--his genius and his passion. Julian Bell’s scholarly writing was a challenge for me to wade through at times, but well worth taking the time to study the 148 pages for any Van Gogh enthusiast. Bell uses Vincent’s letters to his brother, Theo, along with other correspondences to portray the story of Van Gogh’s life. I had not realized that Vincent had tried being a minister and a missionary in his youth, and that he didn’t start drawing and painting until age twenty-seven. Bell details the writers and artists that influenced Vincent’s work, especially Jean-François Millet. It amazes me that Van Gogh’s vast “oeuvre” (a word I learned in this book) was completed in ten short years before his suicide at age thirty-seven.
January 26, 2019
Interesting enough
The book was quite difficult to get throug, meaning very detailed and at some parts, just plain boring!. At times I felt as though this was someone’s dissertation! I initially wanted to read this after I visited the Van Gogh museum in Amsterdam, however, I am certain there are better books out there.
The book was quite difficult to get throug, meaning very detailed and at some parts, just plain boring!. At times I felt as though this was someone’s dissertation! I initially wanted to read this after I visited the Van Gogh museum in Amsterdam, however, I am certain there are better books out there.
February 10, 2015
Good Reads First to Read Winner
This is a great, compact little biography that was a great introduction to Van Gogh as a non-artist. Bell uses Van Gogh's ample correspondence throughout the book and discusses his painting technique in a way that was accessible and interesting.
This is a great, compact little biography that was a great introduction to Van Gogh as a non-artist. Bell uses Van Gogh's ample correspondence throughout the book and discusses his painting technique in a way that was accessible and interesting.
August 22, 2015
This was a great read and so well written in a no nonsense manner. Julian packs it all in there and if you haven't read anything on Van Gogh this book has it all with feeling while explaining the genius of this man.
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February 21, 2020A Power Seething by Julian Bell Review
Julian Bell, a well-known writer took it upon himself to write this biography of Vincent Van Gogh. This book was a relatively short book but truly captured Van Gogh’s essence. Though it had been repetitive, which had been found occasionally annoying, it had explained Van Gogh’s life pretty well. Bell was able to explain all Van Gogh’s hardships and times of wonder or prosperity. The story had been decently organized yet still had its moments of confusion. But even though there was some confusion Bell had decided to help the reader out and put some semi-useful notes in the back of the book. These notes did in fact bring some clarity to the jumble called Van Gogh’s life. Bell had seemingly repeated facts about Van Gogh’s life which had taken away the rich essence of that very moment. Overall it was a decent book yet could've been filled with something to really grab and hold onto a reader’s interest.
Julian Bell is a great writer but looking further into this book there really is no interest in reading anymore of his books. Bell lacks a certain type of attention grabber. His books can be very dull and uninteresting at times, but isn’t that what’s expected of biographies and historical books? These types of books aren’t always going to be the best thing in the world to read. Also Bell’s choice of literacy and word choices were complex at times. The reader can easily get lost in all the commotion caused by these words. Most of the book was difficult to read since most of the words required looking it up or trying to piece things together.
This book is mostly recommended for art lovers that would enjoy learning more about great creators. This book is all recommended for those who are being forced to do a project and don’t quite have an idea on what to do.Its a nice quick way to learn new things. Bell was good at filling the book with lots of information and giving more examples of what was going on in Van Gogh’s life. Artists should definitely look into this book, especially those who are going through rough times and need just a little something to relate to. Bell has put some of Van Gogh’s hardest times into things that could possibly relate to some of the readers. People who are majoring in art or are taking art classes should read this book. The readers will learn a great deal about a great artist and how even though there were times of pain anyone can find comfort in what soothes them best.
Julian Bell, a well-known writer took it upon himself to write this biography of Vincent Van Gogh. This book was a relatively short book but truly captured Van Gogh’s essence. Though it had been repetitive, which had been found occasionally annoying, it had explained Van Gogh’s life pretty well. Bell was able to explain all Van Gogh’s hardships and times of wonder or prosperity. The story had been decently organized yet still had its moments of confusion. But even though there was some confusion Bell had decided to help the reader out and put some semi-useful notes in the back of the book. These notes did in fact bring some clarity to the jumble called Van Gogh’s life. Bell had seemingly repeated facts about Van Gogh’s life which had taken away the rich essence of that very moment. Overall it was a decent book yet could've been filled with something to really grab and hold onto a reader’s interest.
Julian Bell is a great writer but looking further into this book there really is no interest in reading anymore of his books. Bell lacks a certain type of attention grabber. His books can be very dull and uninteresting at times, but isn’t that what’s expected of biographies and historical books? These types of books aren’t always going to be the best thing in the world to read. Also Bell’s choice of literacy and word choices were complex at times. The reader can easily get lost in all the commotion caused by these words. Most of the book was difficult to read since most of the words required looking it up or trying to piece things together.
This book is mostly recommended for art lovers that would enjoy learning more about great creators. This book is all recommended for those who are being forced to do a project and don’t quite have an idea on what to do.Its a nice quick way to learn new things. Bell was good at filling the book with lots of information and giving more examples of what was going on in Van Gogh’s life. Artists should definitely look into this book, especially those who are going through rough times and need just a little something to relate to. Bell has put some of Van Gogh’s hardest times into things that could possibly relate to some of the readers. People who are majoring in art or are taking art classes should read this book. The readers will learn a great deal about a great artist and how even though there were times of pain anyone can find comfort in what soothes them best.
October 24, 2019
304 information that 101 readers can understand and appreciate.
If you only know Vincent from his stint on Doctor Who, Bell's artistic biography is a good place to start. I say "artistic" because, while the main events of his life are captured in the text, the primary focus is on the art those events generated, and Van Gogh's evolution as a painter. This is a far more interesting way to go about it, IMHO, as what a person does with their life and talent is more important than the nuts and bolts of what transpired.
Of course, before Vincent becomes Vincent, there's a lot of bumbling around to do. Many readers will be surprised at his religious inclinations (though, in light of what we learn later, a religious mania is not uncommon), and most will empathize with his sincere desire to find a place in a world that doesn't quite seem to fit his gifts. Turning to drawing out of frustration proved to be the key, but after some art school failures, Vincent decides to go it alone.
And by "alone" I mean of course "with Theo's help," because poor Theo subsidized most of Vincent's adult life. The relationship between the two brothers is poignant, and will leave readers wanting to learn more about Theo. It's almost impossible to write about one without the other, as their fates were so intertwined.
It's also impossible to write about the Van Gogh family without writing about mental illness, and Bell doesn't pull any punches. Vincent is the patron saint of mentally ill creatives, and it's not hard to see why: even during his stints in an asylum he channeled his frenetic energy into making art. The title of the book is from one of Van Gogh's letters to Theo; although the "power seething" refers to his drive to paint, you could argue that it also captures the essence of the illness (most likely bipolar disorder) that tormented him. Painting as exorcism? Perhaps. If we cannot cast out our demons entirely, we can at least confine them to magic circles. Or, in this case, squares.
Readers looking for a short, intelligent introduction to this tortured magician will be very pleased. Whether you're inspired to seek out more information or satisfied you got the best of the best, you won't be sorry for having read this book. Recommended for all public library collections.
If you only know Vincent from his stint on Doctor Who, Bell's artistic biography is a good place to start. I say "artistic" because, while the main events of his life are captured in the text, the primary focus is on the art those events generated, and Van Gogh's evolution as a painter. This is a far more interesting way to go about it, IMHO, as what a person does with their life and talent is more important than the nuts and bolts of what transpired.
Of course, before Vincent becomes Vincent, there's a lot of bumbling around to do. Many readers will be surprised at his religious inclinations (though, in light of what we learn later, a religious mania is not uncommon), and most will empathize with his sincere desire to find a place in a world that doesn't quite seem to fit his gifts. Turning to drawing out of frustration proved to be the key, but after some art school failures, Vincent decides to go it alone.
And by "alone" I mean of course "with Theo's help," because poor Theo subsidized most of Vincent's adult life. The relationship between the two brothers is poignant, and will leave readers wanting to learn more about Theo. It's almost impossible to write about one without the other, as their fates were so intertwined.
It's also impossible to write about the Van Gogh family without writing about mental illness, and Bell doesn't pull any punches. Vincent is the patron saint of mentally ill creatives, and it's not hard to see why: even during his stints in an asylum he channeled his frenetic energy into making art. The title of the book is from one of Van Gogh's letters to Theo; although the "power seething" refers to his drive to paint, you could argue that it also captures the essence of the illness (most likely bipolar disorder) that tormented him. Painting as exorcism? Perhaps. If we cannot cast out our demons entirely, we can at least confine them to magic circles. Or, in this case, squares.
Readers looking for a short, intelligent introduction to this tortured magician will be very pleased. Whether you're inspired to seek out more information or satisfied you got the best of the best, you won't be sorry for having read this book. Recommended for all public library collections.
August 24, 2019
When I saw that this was an Amazon produced book in their own series, I was somewhat conflicted. Having just finished the deeply researched and first class Karen Armstrong book in the series about St. Paul, this was a series to take seriously. These are even available for no charge in their exchange.
I recall seeing a small simple block add in the back of The Atlantic Monthly advertising a wide array of books available for ordering. Not being satisfied with missing so many books in the limited local shops, I watched their progress with interest. How could they have so any books available? Would they have the recently published books? That was before they revolutionized book access with the Kindle. I immediately ordered a Kindle and am on the sixth Kindle Fire now. How would this affect the writer and publishers? How will a reader ever locate a book from the pleasure of browsing?
Anyway, I bit in a big way through the Kindle and Audible. I have no affiliation with Amazon in any way. I still buy and collect finely printed books made in the traditional way. I do not see this as a forced binary choice at all.
So, what do we have here? Again a serious book about the endlessly fascinating Vincent Van Gogh. I was apprehensive that it may contain many inside the art world descriptions of technique or descriptions of styles but those are few. The narrative moves carefully through the life of this troubled man. His letters reveal a gift for the written description as well as his finally acknowledged talent as an artist. The story has been told before but it still is moving when hearing some of his own words from those letters to his brother. Vincent is the kind of family member that no family wants to support forever. The distance of time can give us compassion for him but without that distance he would have been an exasperating family member.
Can we separate the artist from the art or should we?
I recall seeing a small simple block add in the back of The Atlantic Monthly advertising a wide array of books available for ordering. Not being satisfied with missing so many books in the limited local shops, I watched their progress with interest. How could they have so any books available? Would they have the recently published books? That was before they revolutionized book access with the Kindle. I immediately ordered a Kindle and am on the sixth Kindle Fire now. How would this affect the writer and publishers? How will a reader ever locate a book from the pleasure of browsing?
Anyway, I bit in a big way through the Kindle and Audible. I have no affiliation with Amazon in any way. I still buy and collect finely printed books made in the traditional way. I do not see this as a forced binary choice at all.
So, what do we have here? Again a serious book about the endlessly fascinating Vincent Van Gogh. I was apprehensive that it may contain many inside the art world descriptions of technique or descriptions of styles but those are few. The narrative moves carefully through the life of this troubled man. His letters reveal a gift for the written description as well as his finally acknowledged talent as an artist. The story has been told before but it still is moving when hearing some of his own words from those letters to his brother. Vincent is the kind of family member that no family wants to support forever. The distance of time can give us compassion for him but without that distance he would have been an exasperating family member.
Can we separate the artist from the art or should we?
August 26, 2019
A wonderful combination of chronology, perspective and Vincent's own words in letters to give an introduction to his artwork and all that lay behind it. Includes images of some of the paintings whose stories are told- which was a wonderful way to be able to look at them with new feelings.
A favorite quote:
"Do you know what I think about quite often — what I used to say to you back in the old days, that if I didn’t succeed I still thought that what I had worked on would be continued. Not directly, but one isn’t alone in believing things that are true. And what does one matter as a person then? I feel so strongly that the story of people is like the story of wheat, if one isn’t sown in the earth to germinate there, what does it matter, one is milled in order to become bread."
A favorite quote:
"Do you know what I think about quite often — what I used to say to you back in the old days, that if I didn’t succeed I still thought that what I had worked on would be continued. Not directly, but one isn’t alone in believing things that are true. And what does one matter as a person then? I feel so strongly that the story of people is like the story of wheat, if one isn’t sown in the earth to germinate there, what does it matter, one is milled in order to become bread."
January 1, 2019
Beautifully crafted and insightful
As a long time admirer of Van Gogh's work and equally fascinated by the man, I sometimes wonder if there is any more to be learned in reading about his life that I haven't read before. Happily this well written book provides much new food for thought as well as genuine insight to some of the work I hadn't read before. The role of Theo's wife for one is fascinating and one to be thankful for. Whether your first or 100th book on Van Gogh and his work, this will provide a rich and stimulating read, and of course drive you to look one again at the amazing art.
As a long time admirer of Van Gogh's work and equally fascinated by the man, I sometimes wonder if there is any more to be learned in reading about his life that I haven't read before. Happily this well written book provides much new food for thought as well as genuine insight to some of the work I hadn't read before. The role of Theo's wife for one is fascinating and one to be thankful for. Whether your first or 100th book on Van Gogh and his work, this will provide a rich and stimulating read, and of course drive you to look one again at the amazing art.
March 3, 2021
Good book for the right audience. The biography is based mostly on letters Van Gogh wrote, and which were mostly collected by others, and on other biographies (as far as I could tell). It's secondary sources, in other words. The author is an artist, so that adds some real value to the book as he handily critiques lots of the famous artist's works, but the language in these instances is highly specialized and would only be understand by other artists or at least serious students of art. I found the book pedantic at times, and esoteric at other times.
December 27, 2018
Ik las verbaasde recensenten die constateerden: zo'n compact boekje, maar eigenlijk staat alles erin, wat knap en wat heerlijk opgeschreven! Dat kan ik allemaal beamen. Vooral heel goed hoe Bell (zelf schilder) steeds het verband legt tussen de gebeurtenissen in Vincents leven en zijn schilderijen, waardoor het nu eens níet uitsluitend over de 'getroebleerde ziel' gaat, maar echt over de man en zijn werk. Ontzettend verhelderend. En mooi verteld.
March 2, 2021
3.5 stars, and with this new biography, I'm one step closer to finally reading all of Vincent's letters to his brother. The quoted lines from those letters in this book are more proof that van Gogh is one of my guiding lights.
This book tries to distill the 800 pages of van Gogh's life story into 150 pages. It mostly works, but this wouldn't have sufficed on its own. The writing style is sometimes a little too technical, but I enjoyed it overall.
This book tries to distill the 800 pages of van Gogh's life story into 150 pages. It mostly works, but this wouldn't have sufficed on its own. The writing style is sometimes a little too technical, but I enjoyed it overall.
November 17, 2025
Would give this something like 2.5-3 Stars. A nice, compact biography of Vincent Van Gogh told through the letters between him and his brother, Theo, as well as his own journaling.
I felt myself having to re-read as I was losing attention in places, but did appreciate some of the descriptive writing about color.
I felt myself having to re-read as I was losing attention in places, but did appreciate some of the descriptive writing about color.
July 25, 2017
If you like reading textbooks this might be for you. Historically it's boring and hard to follow. I love Van Gogh as an artist and was super excited to read this but it just lacks...luster? It's not a fun read and I abandoned 50% of the way through because I couldn't take it any more.
June 24, 2021
I read this at Clay's suggestion before (well before, during, and after) attending a live Van Gogh exhibit. His story is very interesting and I didn't realize how much of what I was told about him was misrepresented.
January 21, 2024
Story of a talented artist who was a crazy man. He somehow got his ear cut off but it has not been proven he did it himself. He enjoyed prostitutes and had syphilis which probably contributed to his craziness.
March 26, 2025
"With the arrival of Willem Hoornik, this new life that was not of his blood yet that asked to be loved for its own sake, Vincent reached a kind of giddy summit to the arduous, courageous, crazily wayward slither and scramble he had undertaken since the previous November." sentence on page 40
January 21, 2020
This was a nice and serviceable brief biography of Van Gogh. It gave a nice overview of the artists life.
February 16, 2022
I recommend this read to anyone looking to learn another perspective about Van Gogh's life.
August 8, 2022
I listened to this on Scribd and despite being interested in the subject, I could not retain a single piece of information. Disappointing.
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