
慈濟大學 106學年度學士後中醫學系招生考試
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arrived in May 1890, was the most productive period of his career. Despite this, he felt increasingly
lonely and anxious, and became convinced that his life was a failure. Eventually, he got hold of a
pocket revolver. When he pulled the trigger, the bullet ricocheted off a rib, and failed to pierce his
heart. He lost consciousness and collapsed, and died the next night, aged 37.
On the Verge of Insanity, an exhibition at the Van Gogh Museum in 2016, provides a meticulous
and balanced account of the final year-and-a-half of the artist’s life. Although it does not offer a
definitive diagnosis of Van Gogh’s illness – over the decades, a number of causes have been
suggested – it does contain a severely corroded handgun that was discovered in Auvers around 1960.
Analysis suggests that the pistol is probably the very one that Van Gogh used.
The exhibition also features a recently discovered letter, written by Felix Rey, the doctor who
treated Van Gogh in Arles. It contains a diagram illustrating precisely which part of his ear the artist
removed. For years, biographers have debated whether Van Gogh sliced off the whole of his left ear
or just its lobe. This letter proves without doubt that the artist cut off his entire ear.
Another attention-grabbing item in the exhibition is an unfinished painting, called Tree Roots.
Van Gogh worked on it d uring the morning of J uly 27, a few hours before he tried to kill himself. At
first glan ce, this d ense pictu re appears al most abstract – how a re we supposed to ‘read’ its thicket of
blue, green and yellow brushstrokes, all vigorously applied to the canvas, which remains visible in
various places. The entire canvas, however, is devoted to a compact tangle of gnarled roots, trunks,
branches an d m assed vegetation. In man y ways, Tree Roots is an extraordinary image: an innovative,
‘all-over’ composition, without a single focal point. Arguably it anticipates later developments of
modern art, such as abstractionism. Yet, shortly after it was made, Van Gogh attempted to commit
suicide. What does it tell us about his state of mind?
Certainly, the painting appears agitated, as though fraught with emotional t urbulence. Moreover,
its subject matter seems noteworthy. Years e arlier, Van Gogh had made a s tud y of tre e roots that was
meant to express something of life’s struggles. Shortly before his death, in a letter to his brother Theo,
Van Go gh wrote th at his li fe was “attack ed at the v ery root.” Could it be that Van Gogh painted Tr ee
Roots as a farewell?
However, Nienke Bakker, who is responsible for the collection of paintings at the Van Gogh
Museum, urges caution. “There is a lot of emotional agitation in works from the last weeks of Van
Gogh’s life,” she sa ys. “Yet Tree Roots is also very vigorous and full of life.” She scotches the idea
that Van Gogh’s illness was the cause of his greatness as an artist. “All of these tortured, gnarled
roots make Tree Roots a very hectic, emotional painting,” she says. “But it’s not a painting created
by a crazy mind. He knew ver y w ell what he was doing. Until the end, Van Gogh painted in spite of
his illness, not because of it. It’s important to remember that.”