WEBVTT - The Tragic Life of Vincent Van Gogh

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<v Speaker 1>Welcome to Stuff you should know, a production of iHeartRadio.

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<v Speaker 2>Hey, and welcome to the podcast. I'm Josh, and there's

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<v Speaker 2>Chuck and Cheers here too, and we all have bandages

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<v Speaker 2>around our heads out of sympathy for a truly great guy.

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<v Speaker 2>From what I can tell. Oh, yeah, let's go don

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<v Speaker 2>this is stuff you should know.

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<v Speaker 1>Oh yes, hi everyone, Hi, I'm Chuck.

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<v Speaker 2>Oh yeah, I'm Chuck too.

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<v Speaker 1>The Deuce, What is going on? I thought you were

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<v Speaker 1>I thought you were Chuck de Portes.

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<v Speaker 2>Oh yeah, or the Ocho.

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<v Speaker 1>Yeah boy, I'm trying to make ESPN jokes and it's

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<v Speaker 1>just not happening.

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<v Speaker 2>That worked, Yeah, the Spanish version of esp and I.

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<v Speaker 1>Got no no, I know, but I'm just saying it's

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<v Speaker 1>not good.

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<v Speaker 2>Oh well, I can't argue with that. Should be start over, Hey,

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<v Speaker 2>and welcome to the pop. I'm Josh, there's Chuck, just

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<v Speaker 2>Chuck and Jerry's here too, and this is stuff you

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<v Speaker 2>should know.

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<v Speaker 1>That's right, Chuck de Portes.

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<v Speaker 2>Now we have to start over again. You're ready here,

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<v Speaker 2>We'll give everybody a little beep beep.

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<v Speaker 1>Can we talk about Bengo?

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<v Speaker 2>Yeah, that's what I was saying. We have bandages around

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<v Speaker 2>our heads because we are in are in solidarity. That's

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<v Speaker 2>what I'm trying to say with a really great guy.

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<v Speaker 1>Yeah, have you ever seen any of the Van Goo movies?

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<v Speaker 2>I watched one last night. It was a documentary, but

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<v Speaker 2>it was the documentary the one where David Bowie plays

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<v Speaker 2>Andy Warhol?

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<v Speaker 1>H which one? Did Bowie play Warhol?

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<v Speaker 2>In Basquiot?

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<v Speaker 1>Basquiot right? Because he was also played by Crispin Glover

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<v Speaker 1>in the Doors and the Doors and Van Go was

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<v Speaker 1>played by Willem Dafoe.

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<v Speaker 2>That was unwatchable.

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<v Speaker 1>I never saw that one. It was unwatchable loving Vincent.

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<v Speaker 2>I think that's what it's called. Yeah, I'm almost positive

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<v Speaker 2>it's not because it's bad or the Dialogu's bad or

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<v Speaker 2>anything like that. It's just so shaky and rapid cut

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<v Speaker 2>and shot from weird angles to I guess represent his

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<v Speaker 2>mental illness that I couldn't watch it. I watched like

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<v Speaker 2>ten minutes, so I was like, oh no, I was disappointed.

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<v Speaker 1>Yeah. I never saw that one. I did see the

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<v Speaker 1>one from the nineties though, the Robert Altman film.

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<v Speaker 2>I didn't know he did one on Are you talking

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<v Speaker 2>about Nashville?

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<v Speaker 1>Yeah, I'll shoots that's the one. No, Vincent Theo with

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<v Speaker 1>Tim Rothis Van Go. That was a yeah, nineteen ninety

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<v Speaker 1>I think it was a good.

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<v Speaker 2>Movie, no idea. I'll have to go back and check

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<v Speaker 2>that out.

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<v Speaker 1>Yeah, I'd like to see it again. I don't think

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<v Speaker 1>i've seen it since college.

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<v Speaker 2>I feel like a total shmoke because I don't remember

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<v Speaker 2>the name of the documentary, But essentially the premise of

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<v Speaker 2>it is the documentary went from place to place through

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<v Speaker 2>and just followed Van Go's life because he moved around

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<v Speaker 2>a lot, as we'll see, and was inspired differently by

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<v Speaker 2>the different places he lived. And they basically talked about

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<v Speaker 2>how those places inspired him or how they beat him

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<v Speaker 2>down or whatever, and then they would show you know,

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<v Speaker 2>his like paintings morphing into the structures that are still

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<v Speaker 2>there today or vice versa. It was really good. That's documentary.

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<v Speaker 2>They talked a lot about his life and it was good.

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<v Speaker 2>It's very tranquil. I think there was the same thirty

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<v Speaker 2>seconds of very tranquil string music that they used over

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<v Speaker 2>and over and over again. And it was not a problem.

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<v Speaker 1>I think Van Go. I mean, you know, I don't

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<v Speaker 1>know much about art history. We've talked to we've done

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<v Speaker 1>quite a few shows about this kind of thing over

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<v Speaker 1>the years, and my appreciation for art has grown sort

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<v Speaker 1>of in lockstep. I've always sort of liked Vango's stuff,

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<v Speaker 1>for sure, but I like him even more now that

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<v Speaker 1>I kind of understand that, you know, he never well,

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<v Speaker 1>I mean, most people, if they know anything about van

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<v Speaker 1>Go know he never gained fame in his lifetime. But

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<v Speaker 1>he certainly never tried to achieve fame as an artist

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<v Speaker 1>by like painting what he thought people might want to see.

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<v Speaker 1>He always painted what he you know, his surroundings and

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<v Speaker 1>like you said, depending on where he lived, that varied,

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<v Speaker 1>and also it seems like really from the heart and

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<v Speaker 1>his deep, deep emotions, which I have a lot of

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<v Speaker 1>respect for.

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<v Speaker 2>Yeah, in that sense, he was a pioneer. The same

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<v Speaker 2>for me too. By the way, I really came to

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<v Speaker 2>like him even more. I think we both came from

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<v Speaker 2>the same exact spot and ended up in about the

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<v Speaker 2>same exact spot too.

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<v Speaker 1>Look at us.

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<v Speaker 2>One thing I saw that kind of explained him to me,

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<v Speaker 2>at least, was that he wanted to share the things

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<v Speaker 2>he saw, the beauty he saw everywhere with the world,

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<v Speaker 2>because it was so beautiful. He wanted to provide that

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<v Speaker 2>to the world, not in any kind of egotistical way

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<v Speaker 2>or anything like that, but just like, this is so pretty.

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<v Speaker 2>I'm going to try my best to express how this

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<v Speaker 2>makes me feel and show the world. And then very

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<v Speaker 2>sadly the world was like, that's not very good. We

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<v Speaker 2>don't want now. Thanks for sharing, but keep it to yourself.

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<v Speaker 1>Yeah, that's tough, I mean. In fact, in one letter

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<v Speaker 1>to his brother Theo, he said his allaying anxiety was

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<v Speaker 1>how can I be of use in the world? And

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<v Speaker 1>his you know, what he came to was to be

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<v Speaker 1>an artist, and that he really thought that had and

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<v Speaker 1>he was right, had a lot of value and that's

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<v Speaker 1>how he would serve in a way.

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<v Speaker 2>Right right, kind of cool. But before he became an artist,

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<v Speaker 2>he pinged around here or there. He's a little aimless

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<v Speaker 2>for a little while. And he was born in eighteen

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<v Speaker 2>fifty three in the nether Lens or Dare, near Lenz,

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<v Speaker 2>say Holland. Sure his father was Theodorus or I guess

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<v Speaker 2>it'd be Teo Doris van Goch, that's the correct way

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<v Speaker 2>to say it. And I went back and I didn't

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<v Speaker 2>listen to it, but I read the transcript from our

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<v Speaker 2>episode seven No Waight five mysteries of the art world.

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<v Speaker 2>Were we talked about man go a lot, and you

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<v Speaker 2>correctly said his name. I think here or there or through.

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<v Speaker 1>I probably was, Yeah, I think I was probably making

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<v Speaker 1>a joke from a Woody Allen movie.

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<v Speaker 2>As a matter of fact, you were. That's exactly what

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<v Speaker 2>you mentioned that.

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<v Speaker 1>Yeah, yeah, that was a funny part, Ben Goch.

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<v Speaker 2>But the transcription, the AI transcribing it kept saying Van God.

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<v Speaker 2>So I could tell that you were saying Van Goh.

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<v Speaker 1>Okay, oh, I thought you were going to say. The

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<v Speaker 1>AI transcription canceled what I said about Woody Allen. No, No,

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<v Speaker 1>that'd be useful.

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<v Speaker 2>Ill it's coming, don't worry.

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<v Speaker 1>Yeah. So yeah, born in eighteen fifty three, Like you said,

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<v Speaker 1>he had a bunch of siblings. He had five younger siblings,

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<v Speaker 1>Theo the most notable because, as you'll see, they had

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<v Speaker 1>a very tight relationship and working relationship, which is why

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<v Speaker 1>Robert Altman made the movie Vincent and Theo. THEO was

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<v Speaker 1>younger by four years. Vincent was, you know, apparently a

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<v Speaker 1>pretty moody, tough kid, and as we'll see, he certainly

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<v Speaker 1>suffered from mental illness throughout his life, but his parents

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<v Speaker 1>didn't know what to do with him. So they sent

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<v Speaker 1>him to boarding school for about four years from twelve

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<v Speaker 1>to sixteen, at which point he was like, you know what,

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<v Speaker 1>I'm going to get involved in the art worlds in

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<v Speaker 1>the way of being sort of like an apprentice to

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<v Speaker 1>a dealer, and he learned about the sales side.

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<v Speaker 2>Yeah, I get the impression he kind of fell into

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<v Speaker 2>the art world because it was almost a family business selling.

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<v Speaker 1>Art, was the impression.

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<v Speaker 2>Yeah, put that in your pipe and smoke it later, right.

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<v Speaker 1>Yeah, I think you're probably right.

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<v Speaker 2>So he worked there for I think seven years, yeah,

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<v Speaker 2>until about age twenty three, and this was it was

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<v Speaker 2>during this period that he fell into what I think

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<v Speaker 2>is viewed as his first true episode of depressions, about

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<v Speaker 2>of real depression, and it followed on the heels of

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<v Speaker 2>a I didn't see exactly what it was. Livia helped

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<v Speaker 2>us with. She just describes it as a romantic disappointment.

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<v Speaker 2>But that seems to be a trend throughout his life

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<v Speaker 2>where he did not he was not lucky in love.

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<v Speaker 2>I think the Little River Band would have called him

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<v Speaker 2>the lonesome loser in that respect, and that would trigger

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<v Speaker 2>some of his depressive episodes. But as a result, his

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<v Speaker 2>uncle or whoever ran his uncle's art dealership was like, sorry,

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<v Speaker 2>you're fired.

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<v Speaker 1>Yeah, so we lost that job. But he did learn

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<v Speaker 1>about the world of art and sort of the business

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<v Speaker 1>of art, even though he didn't, like I say, kind

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<v Speaker 1>of cowtow to the business side of things. He got

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<v Speaker 1>interested in religion for a little while after that job

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<v Speaker 1>and was a I guess an unordained or unlicensed preacher

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<v Speaker 1>for about four years. He never got a theology degree

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<v Speaker 1>or anything, but he did this work, sort of missionary

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<v Speaker 1>work in Belgium and sort of the poorest parts of

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<v Speaker 1>Belgium and cold country at the time, and he wanted

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<v Speaker 1>to you know, very admir didn't want to put on airs,

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<v Speaker 1>and he lived as the people around him lived, and

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<v Speaker 1>was very open and shared what he had with his parishioners.

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<v Speaker 1>But the church wasn't wild about that idea. I think

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<v Speaker 1>they thought it was sort of beneath the parish. So

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<v Speaker 1>he got fired from that job as a preacher.

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<v Speaker 2>Yeah, And I have the impression that he was taking

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<v Speaker 2>steps to maybe please his father and just trying to

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<v Speaker 2>throw himself into religion because he wanted something. He wanted

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<v Speaker 2>some sort of connection to something bigger than him, and

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<v Speaker 2>I guess that was just the easiest thing to try.

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<v Speaker 2>But also his father, remember he was a Dutch minister,

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<v Speaker 2>so yeah, I could see him doing that, and then

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<v Speaker 2>he kind of failed at that, So that probably didn't

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<v Speaker 2>sit all that well.

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<v Speaker 1>I mean, isn't that kind of the story of a

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<v Speaker 1>lot of people, like boys trying to please daddy who

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<v Speaker 1>didn't approve of them.

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<v Speaker 2>Yeah, that's why I became a podcaster. My dad told

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<v Speaker 2>me when I was like seven, He's like, I will

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<v Speaker 2>never respect you unless you grow up to be a podcaster.

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<v Speaker 2>And I was like, I can do that. He said,

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<v Speaker 2>a good one, and I went.

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<v Speaker 1>Yeah, right. I remember my dad at one point suggested

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<v Speaker 1>I've become a mail carrier when I was sort of aimless, just.

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<v Speaker 2>Like Henry CHENASKI government.

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<v Speaker 1>Job, good benefits, you could do worse. He was absolutely right,

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<v Speaker 1>there's nothing wrong with the job. I just wasn't so

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<v Speaker 1>interested in that.

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<v Speaker 2>So yeah, so he failed to please his father, if

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<v Speaker 2>that's what he was doing, But he kind of we

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<v Speaker 2>all did exactly right well put. But he he was

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<v Speaker 2>struck by his time in Belgium coal country and he

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<v Speaker 2>hopped out of there for a little while. But he

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<v Speaker 2>would kind of carry with him, as we'll see, once

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<v Speaker 2>he became an artist, you know, this appreciation or at

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<v Speaker 2>least kind of this need to shine a spotlight on

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<v Speaker 2>the toil and the suffering of his fellow humans because

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<v Speaker 2>he cared about them and he thought other people should

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<v Speaker 2>care about him too.

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<v Speaker 1>Yeah, for sure. I mean he definitely carried around socialist ideas.

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<v Speaker 1>He started to actually study painting because, like I said,

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<v Speaker 1>he had written that letter, THEO saying that he wanted

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<v Speaker 1>to become an artist to try and serve the world

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<v Speaker 1>and bring the beautiful art. So he thought, you know,

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<v Speaker 1>maybe I should study this stuff. Off and on. He

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<v Speaker 1>lived with his parents, but that never worked out very well,

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<v Speaker 1>as that happened sometimes in real life. He found them

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<v Speaker 1>fairly suffocating, and so he would sort of move around

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<v Speaker 1>in between the Netherlands in Belgium for a period of years.

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<v Speaker 1>That's not to say his family as a whole didn't

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<v Speaker 1>support him, because THEO, as we'll see, was always very supportive.

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<v Speaker 1>He was working in the art world. He worked for

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<v Speaker 1>a big dealer, and he was very sort of hip

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<v Speaker 1>to the art scene. THEO was and you know what

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<v Speaker 1>was moving and he would end up representing not only

0:11:41.960 --> 0:11:44.120
<v Speaker 1>his brother who was not popular, but other artists who

0:11:44.120 --> 0:11:48.000
<v Speaker 1>were not popular in critical circles like Monet and Goga

0:11:48.720 --> 0:11:52.720
<v Speaker 1>and old latrec are to Louse Latrek.

0:11:52.800 --> 0:11:55.960
<v Speaker 2>Yeah, like his brother had that foresight that was like

0:11:56.000 --> 0:11:58.319
<v Speaker 2>these new impressionist guys, I like what they're doing.

0:11:59.080 --> 0:12:00.400
<v Speaker 1>Yeah, I mean, he knew it up.

0:12:00.640 --> 0:12:04.000
<v Speaker 2>But he also very importantly saw, like, my brother actually

0:12:04.000 --> 0:12:06.080
<v Speaker 2>has something here. This is a good decision that he

0:12:06.120 --> 0:12:09.040
<v Speaker 2>became an artist. It was not at all patronizing, even

0:12:09.040 --> 0:12:13.600
<v Speaker 2>though Tale THEO was his patron which is kind of confusing.

0:12:13.840 --> 0:12:18.559
<v Speaker 2>He genuinely believed in his brother's ability, and he very

0:12:18.600 --> 0:12:21.000
<v Speaker 2>happily was like, I'm going to give you a monthly

0:12:21.040 --> 0:12:25.400
<v Speaker 2>allowance that I saw was about equal to a minimum

0:12:25.480 --> 0:12:28.640
<v Speaker 2>wage what somebody would earn minimum wage. And it kept him.

0:12:28.880 --> 0:12:31.520
<v Speaker 2>It kept Vincent in the art supplies. I think he

0:12:31.600 --> 0:12:33.880
<v Speaker 2>spent eighty percent of it on art supplies and the

0:12:33.920 --> 0:12:37.600
<v Speaker 2>other twenty percent on just living. But he was able

0:12:37.640 --> 0:12:40.920
<v Speaker 2>to live like that and just produce art, and that's

0:12:40.960 --> 0:12:41.880
<v Speaker 2>what THEO wanted.

0:12:42.640 --> 0:12:45.440
<v Speaker 1>Yeah, and Vincent said, don't patronize me. And he said,

0:12:45.480 --> 0:12:49.680
<v Speaker 1>well that's tricky because technically I am exactly And that

0:12:49.760 --> 0:12:51.920
<v Speaker 1>was about twenty percent of theo's income, So it was

0:12:51.960 --> 0:12:54.680
<v Speaker 1>not you know, chicken scratch. Why wasn't making it a

0:12:54.720 --> 0:12:59.480
<v Speaker 1>ton of money himself. His cousin was also very supportive

0:12:59.520 --> 0:13:01.600
<v Speaker 1>of him in the way of teaching him. His name

0:13:01.640 --> 0:13:05.680
<v Speaker 1>was Anton mauv and he literally, quite literally taught him

0:13:06.000 --> 0:13:08.360
<v Speaker 1>like how to paint with oil, how to paint with watercolors,

0:13:09.160 --> 0:13:11.480
<v Speaker 1>and he had that. I guess it was that same

0:13:11.600 --> 0:13:15.040
<v Speaker 1>uncle who he worked for, would commission works and pay

0:13:15.120 --> 0:13:17.559
<v Speaker 1>him occasionally to like, you know, paint stuff for him.

0:13:17.720 --> 0:13:22.840
<v Speaker 2>Yeah, it's like in art circles. Van Go was like

0:13:23.040 --> 0:13:26.800
<v Speaker 2>very frequently cited as like only having sold one painting

0:13:26.920 --> 0:13:29.480
<v Speaker 2>during his life. Yeah, that's not correct, not exactly, but

0:13:29.760 --> 0:13:32.000
<v Speaker 2>if you you know, if you want to get technical,

0:13:32.040 --> 0:13:35.040
<v Speaker 2>he sold several paintings, but they were like family and

0:13:35.080 --> 0:13:37.600
<v Speaker 2>friends and stuff like that. He did sell one painting

0:13:37.640 --> 0:13:41.280
<v Speaker 2>to one person he wasn't an acquaintance of. That's true.

0:13:41.559 --> 0:13:44.200
<v Speaker 1>Yeah, for sure, we're gonna be myth busting a little

0:13:44.240 --> 0:13:46.600
<v Speaker 1>bit along the way because van Go, it seems like,

0:13:46.720 --> 0:13:49.480
<v Speaker 1>more so than other artists, had a lot of kind

0:13:49.520 --> 0:13:52.400
<v Speaker 1>of falsehoods bandied about over the years. Is that fair

0:13:52.440 --> 0:13:53.200
<v Speaker 1>to say I get.

0:13:53.080 --> 0:13:54.559
<v Speaker 2>To wear the Beret this time.

0:13:55.240 --> 0:13:58.760
<v Speaker 1>Okay, So, like you said, he never had a whole

0:13:58.800 --> 0:14:02.120
<v Speaker 1>lot of luck with the lady, had a sort of

0:14:02.120 --> 0:14:07.080
<v Speaker 1>a series of disappointments there, but eventually he would have

0:14:07.160 --> 0:14:10.120
<v Speaker 1>about a year and a half relationship with a woman

0:14:10.320 --> 0:14:15.200
<v Speaker 1>named Cien Hornick. This was in eighteen eighty two. She

0:14:15.280 --> 0:14:17.080
<v Speaker 1>was pregnant at the time and also had a five

0:14:17.160 --> 0:14:20.720
<v Speaker 1>year old daughter. Was a former sex worker, which his

0:14:20.760 --> 0:14:24.040
<v Speaker 1>family didn't like any of this, and his father tried

0:14:24.040 --> 0:14:27.640
<v Speaker 1>to get him I guess committed to an asylum, but

0:14:28.240 --> 0:14:30.360
<v Speaker 1>you know, Venko was having none of it. He was

0:14:30.400 --> 0:14:30.720
<v Speaker 1>in love.

0:14:30.840 --> 0:14:32.760
<v Speaker 2>No, but it would get easier and easier to have

0:14:32.840 --> 0:14:35.680
<v Speaker 2>him committed as time went on. I guess this is

0:14:35.760 --> 0:14:40.000
<v Speaker 2>just the first attempt and it didn't take so. Like

0:14:40.080 --> 0:14:43.600
<v Speaker 2>I said, he was kind of taken with the idea

0:14:43.640 --> 0:14:47.240
<v Speaker 2>of peasants, people toiling people growing their own food or

0:14:47.280 --> 0:14:50.760
<v Speaker 2>making their own living from the land, which he was

0:14:50.800 --> 0:14:54.320
<v Speaker 2>infatuated with the land in nature in general. He's almost

0:14:54.360 --> 0:14:59.040
<v Speaker 2>a transcendentalist, I guess, without quite knowing it. And he

0:15:00.080 --> 0:15:01.920
<v Speaker 2>when he moved back with his parents and then was

0:15:01.960 --> 0:15:04.720
<v Speaker 2>bouncing back and forth between Belgium and the Netherlands for

0:15:04.760 --> 0:15:08.280
<v Speaker 2>a little while he was mostly doing studies and paintings

0:15:08.320 --> 0:15:12.840
<v Speaker 2>of peasants, and one of his most famous paintings came

0:15:12.880 --> 0:15:16.360
<v Speaker 2>out of this time. One of his first masterpieces, called

0:15:16.360 --> 0:15:19.320
<v Speaker 2>The Potato Eaters, was a study of I think five

0:15:19.360 --> 0:15:23.920
<v Speaker 2>peasants sitting around a table eating potatoes, drinking coffee, and

0:15:25.640 --> 0:15:29.560
<v Speaker 2>it's like in hughes of Brown's. Essentially. He said in

0:15:29.600 --> 0:15:31.560
<v Speaker 2>a letter to THEO that he wanted it to basically

0:15:31.640 --> 0:15:35.040
<v Speaker 2>be the color of a potato unpeeled. Of course, it's

0:15:35.120 --> 0:15:39.480
<v Speaker 2>how we put it, and he nailed it. It's also

0:15:39.960 --> 0:15:42.040
<v Speaker 2>it's bleak and grim in away but at the same

0:15:42.080 --> 0:15:45.920
<v Speaker 2>time the people almost appear noble, but they're blocky and

0:15:46.000 --> 0:15:51.200
<v Speaker 2>cartoonish almost as far as their forms go. And that

0:15:51.280 --> 0:15:54.400
<v Speaker 2>was all intentional, but everybody was like, this is terrible.

0:15:55.000 --> 0:15:58.440
<v Speaker 1>Yeah, people didn't love it. He was sending these paintings

0:15:58.520 --> 0:16:00.960
<v Speaker 1>to THEO to like, hey man, so these and hopefully

0:16:01.000 --> 0:16:03.200
<v Speaker 1>that can kind of help pay you back, but he

0:16:03.240 --> 0:16:07.240
<v Speaker 1>couldn't sell any of them at the time, and he

0:16:07.240 --> 0:16:09.000
<v Speaker 1>took him to the art market in Paris there but

0:16:09.040 --> 0:16:11.320
<v Speaker 1>no one was into that. You know, his sort of

0:16:12.000 --> 0:16:13.480
<v Speaker 1>I don't want to say dower, but I guess it

0:16:13.520 --> 0:16:16.720
<v Speaker 1>was fairly gloomy, just his color palette. At least this

0:16:16.760 --> 0:16:19.640
<v Speaker 1>would all change though. In eighteen eighty five his father

0:16:19.800 --> 0:16:23.280
<v Speaker 1>died and he painted you know very much in tribute

0:16:23.280 --> 0:16:26.920
<v Speaker 1>to his father, something called still Life with Bible, which

0:16:27.000 --> 0:16:30.040
<v Speaker 1>has showed sort of the contrast between himself and his

0:16:30.080 --> 0:16:33.840
<v Speaker 1>father and their ideals, because obviously the open Bible on

0:16:34.880 --> 0:16:37.560
<v Speaker 1>the table was representing his father. But there was also

0:16:37.600 --> 0:16:40.920
<v Speaker 1>another novel, Lajois de vive, and it was a socialist

0:16:40.960 --> 0:16:44.800
<v Speaker 1>book by a socialist writer named Emil I guess Zola,

0:16:45.680 --> 0:16:47.640
<v Speaker 1>and it was like, you know, here's a contrast between

0:16:47.680 --> 0:16:51.160
<v Speaker 1>my father and I. I paint this in tribute, but

0:16:51.920 --> 0:16:53.360
<v Speaker 1>I got to get out of here now. Like he

0:16:53.680 --> 0:16:56.200
<v Speaker 1>needed a change in his life. I think because of

0:16:56.240 --> 0:16:58.120
<v Speaker 1>his father's passing, he wanted to move.

0:16:59.040 --> 0:17:00.960
<v Speaker 2>Yeah, and he definitely did. He moved to Paris and

0:17:01.000 --> 0:17:03.480
<v Speaker 2>he moved. I don't know if he moved in with THEO,

0:17:03.600 --> 0:17:07.600
<v Speaker 2>but that would be my great guess. Either way. THEO

0:17:07.800 --> 0:17:09.800
<v Speaker 2>was living and working there, and he moved to be

0:17:09.880 --> 0:17:13.560
<v Speaker 2>close to THEO, and THEO introduced him to those artists

0:17:13.600 --> 0:17:17.080
<v Speaker 2>he was wrapping in his circle, like you said, Monet

0:17:17.280 --> 0:17:21.800
<v Speaker 2>and Psro, and to loose the Trek like they were,

0:17:21.920 --> 0:17:23.800
<v Speaker 2>Like Van Goh was hanging out with all of these

0:17:23.800 --> 0:17:26.240
<v Speaker 2>guys and like learning from them, but at the same

0:17:26.280 --> 0:17:30.679
<v Speaker 2>time he was also impressing them too, And when he

0:17:31.080 --> 0:17:36.119
<v Speaker 2>moved to Paris, something changed and he dropped those really

0:17:36.160 --> 0:17:40.720
<v Speaker 2>gloomy colors in favor for like an increasingly bright, colorful

0:17:40.840 --> 0:17:45.280
<v Speaker 2>palette that like Paris, somehow triggered that in him.

0:17:46.000 --> 0:17:50.120
<v Speaker 1>Yeah, you know, you can never or it's easy, I guess,

0:17:50.280 --> 0:17:53.639
<v Speaker 1>rather than to go back after someone has passed and

0:17:53.680 --> 0:17:56.080
<v Speaker 1>sort of judged their work compared to where they were

0:17:56.119 --> 0:17:58.320
<v Speaker 1>in their life and think, like you can kind of

0:17:58.320 --> 0:18:03.479
<v Speaker 1>figure out things. But I guess my armchair psychology degree

0:18:03.520 --> 0:18:06.399
<v Speaker 1>would point me in the direction of like almost being

0:18:06.440 --> 0:18:08.640
<v Speaker 1>freed up a little bit by his father's passing as well.

0:18:10.040 --> 0:18:11.760
<v Speaker 1>I know it upset him, but I think it also

0:18:11.800 --> 0:18:14.080
<v Speaker 1>freed him up. So maybe that in the move to Paris,

0:18:14.119 --> 0:18:16.560
<v Speaker 1>even though we'll see he wasn't very much a city guy,

0:18:17.119 --> 0:18:19.320
<v Speaker 1>I don't think it was it was a coincidence that

0:18:19.359 --> 0:18:21.680
<v Speaker 1>all of a sudden things kind of brightened in his

0:18:21.720 --> 0:18:23.880
<v Speaker 1>life a little bit, or it could have just been

0:18:23.920 --> 0:18:28.320
<v Speaker 1>the ups and downs of his fragile, you know, mental state.

0:18:29.119 --> 0:18:30.920
<v Speaker 2>Yeah, it could be either, but that's a I think

0:18:30.960 --> 0:18:34.399
<v Speaker 2>you dug up an equally compelling idea. Where did you

0:18:34.440 --> 0:18:36.760
<v Speaker 2>get your armchair psychology degree?

0:18:37.400 --> 0:18:38.560
<v Speaker 1>Just right here on my armchair?

0:18:39.160 --> 0:18:41.240
<v Speaker 2>Oh okay, well you're a credit to your armchair.

0:18:41.280 --> 0:18:42.200
<v Speaker 1>Yeah, the right arm.

0:18:44.080 --> 0:18:46.439
<v Speaker 2>Is it a lazy boy? Is it Ethan Allen?

0:18:46.640 --> 0:18:48.000
<v Speaker 1>Oh? You know it's a lazy boy buddy?

0:18:48.080 --> 0:18:52.520
<v Speaker 2>Okay. So yeah, one of the first paintings that people

0:18:52.560 --> 0:18:54.600
<v Speaker 2>are like, Look, he came out of this gloom and

0:18:54.640 --> 0:18:57.560
<v Speaker 2>doom stuff and now he likes color. The Hill of

0:18:57.600 --> 0:19:01.719
<v Speaker 2>mam mart with stone quarry, Uh is not part of

0:19:01.760 --> 0:19:04.600
<v Speaker 2>the title. That was just me. But that was painted

0:19:04.600 --> 0:19:08.320
<v Speaker 2>in eighteen eighty six. And here's the thing that you

0:19:08.359 --> 0:19:13.080
<v Speaker 2>should know about Van go He was he started painting

0:19:13.119 --> 0:19:17.200
<v Speaker 2>in twenty age twenty seven. He died at thirty seven.

0:19:18.040 --> 0:19:21.400
<v Speaker 2>In between that time he painted almost nine hundred paintings,

0:19:22.000 --> 0:19:25.239
<v Speaker 2>many many, many of them masterpieces. So in a ten

0:19:25.320 --> 0:19:30.600
<v Speaker 2>year period, everything you know about Van Goh happened. And

0:19:31.200 --> 0:19:33.760
<v Speaker 2>really you can kind of narrow it down to essentially

0:19:33.800 --> 0:19:36.199
<v Speaker 2>the last three years of his life that were the

0:19:36.359 --> 0:19:38.800
<v Speaker 2>most productive, where he really came into his own.

0:19:39.359 --> 0:19:42.960
<v Speaker 1>Yeah, that website you sent kind of broke down his

0:19:43.000 --> 0:19:47.119
<v Speaker 1>productivity by location, and his five years in the Netherlands

0:19:47.119 --> 0:19:49.840
<v Speaker 1>he painted about four paintings a month, so two hundred

0:19:49.840 --> 0:19:52.240
<v Speaker 1>and forty five. A couple of years in Paris painted

0:19:52.240 --> 0:19:54.800
<v Speaker 1>two hundred and twenty seven, so ten paintings per month.

0:19:55.920 --> 0:19:58.919
<v Speaker 1>His fourteen months, as we'll see in What would That be? Arless?

0:19:58.960 --> 0:19:59.760
<v Speaker 1>Is that how you pronounce that?

0:20:00.200 --> 0:20:00.400
<v Speaker 2>Arl?

0:20:01.200 --> 0:20:01.840
<v Speaker 1>Arl? Okay?

0:20:01.920 --> 0:20:04.280
<v Speaker 2>It just sounds like you're choking on a hard boiled egg.

0:20:06.119 --> 0:20:09.600
<v Speaker 1>About fourteen paintings a month over fourteen months, and then

0:20:09.960 --> 0:20:14.480
<v Speaker 1>salt rem is that right? Eighteen per month? And then finally, man,

0:20:14.600 --> 0:20:16.960
<v Speaker 1>he was up to a painting per day by the

0:20:17.000 --> 0:20:19.639
<v Speaker 1>time he ended up in that last place in France.

0:20:19.920 --> 0:20:23.800
<v Speaker 2>Yeah, like just a stunning number of painting and complete

0:20:23.880 --> 0:20:26.680
<v Speaker 2>oil paintings. Not like he half started wine or something

0:20:26.720 --> 0:20:29.760
<v Speaker 2>like that. These were completed paintings like that usually takes

0:20:29.760 --> 0:20:32.280
<v Speaker 2>a day and a half, not a day, right.

0:20:34.200 --> 0:20:36.440
<v Speaker 1>Yeah. I can't paint anything. I can paint a wall.

0:20:38.040 --> 0:20:39.920
<v Speaker 2>Yeah, I could probably paint a wall in a day.

0:20:40.359 --> 0:20:42.680
<v Speaker 1>Yeah you do. You don't have artistic talent like that either,

0:20:42.680 --> 0:20:43.560
<v Speaker 1>do you No?

0:20:43.920 --> 0:20:46.480
<v Speaker 2>And it's always bothered me. I wanted to draw for

0:20:46.560 --> 0:20:49.040
<v Speaker 2>so long and I just can't do it.

0:20:49.280 --> 0:20:52.680
<v Speaker 1>Yeah, I can't, but we can both write, so sure, yeah,

0:20:52.880 --> 0:20:53.880
<v Speaker 1>and we could both sing.

0:20:54.160 --> 0:20:56.679
<v Speaker 2>Right, we just need an extra one thousand words for

0:20:56.720 --> 0:20:59.919
<v Speaker 2>each picture. We can't both sing. Wait a minute, now,

0:21:00.119 --> 0:21:03.880
<v Speaker 2>hold on it in a compliment. I can't sing. I'm

0:21:03.880 --> 0:21:04.680
<v Speaker 2>not taking that one.

0:21:05.440 --> 0:21:07.679
<v Speaker 1>All right. Well, we'll get you someone singing lessons and

0:21:07.720 --> 0:21:08.679
<v Speaker 1>we'll be back right after this.

0:21:08.920 --> 0:21:23.520
<v Speaker 3>Okay.

0:21:27.040 --> 0:21:29.960
<v Speaker 2>So despite moving to Paris, Chuck, we're back by the way,

0:21:30.359 --> 0:21:35.120
<v Speaker 2>he was still very much drawn to rural areas. That's

0:21:35.119 --> 0:21:37.160
<v Speaker 2>where he found his most inspiration. He liked the light

0:21:37.200 --> 0:21:40.119
<v Speaker 2>and the color out there. Although he did paint a

0:21:40.160 --> 0:21:43.600
<v Speaker 2>lot of city stuff, like a cafe terrace at night.

0:21:43.640 --> 0:21:45.879
<v Speaker 2>That's one of my favorites. There was, There were plenty

0:21:45.880 --> 0:21:50.920
<v Speaker 2>of city paintings, but far and away. He did like landscapes,

0:21:51.000 --> 0:21:54.040
<v Speaker 2>some seascapes, that kind of stuff, and that there was

0:21:54.320 --> 0:21:58.000
<v Speaker 2>no different in when he was in Paris. So he

0:21:58.080 --> 0:22:01.320
<v Speaker 2>really started to kind of pick up painting the land

0:22:01.600 --> 0:22:04.360
<v Speaker 2>around that time too. And then he was also inspired

0:22:04.359 --> 0:22:06.479
<v Speaker 2>by Japanese art during this time.

0:22:06.880 --> 0:22:11.000
<v Speaker 1>Yeah, for sure, those woodblock prints, which I didn't even

0:22:11.000 --> 0:22:14.439
<v Speaker 1>know what woodblock was until probably ten years ago. And

0:22:14.640 --> 0:22:17.159
<v Speaker 1>I just love the stuff. It's really pretty incredible, especially

0:22:17.240 --> 0:22:21.480
<v Speaker 1>the process. But he was inspired not to do woodblock,

0:22:21.480 --> 0:22:23.919
<v Speaker 1>but to kind of recreate that just using you know,

0:22:24.040 --> 0:22:28.800
<v Speaker 1>paint very you know, contrasting colors and bold outlines. And

0:22:29.000 --> 0:22:32.719
<v Speaker 1>he started and I don't know how common this is,

0:22:32.800 --> 0:22:34.720
<v Speaker 1>and you know, I know people are inspired, but he

0:22:34.800 --> 0:22:37.399
<v Speaker 1>kind of straight up copied some other people at times

0:22:37.400 --> 0:22:41.280
<v Speaker 1>in his career. And I don't think like suffered in

0:22:41.880 --> 0:22:46.560
<v Speaker 1>posthumously for that unless I'm wrong. No, okay, that was

0:22:46.560 --> 0:22:49.480
<v Speaker 1>the case. Here he recreated a Japanese wood block sudden

0:22:49.520 --> 0:22:54.080
<v Speaker 1>shower over shin Ohashi Bridge and Atake in eighteen eighty seven,

0:22:54.119 --> 0:22:57.120
<v Speaker 1>but again using brushstrokes.

0:22:56.440 --> 0:22:59.920
<v Speaker 2>Right, yeah, and I mean both of them are pretty impressive.

0:23:00.119 --> 0:23:04.000
<v Speaker 2>But yeah, the idea that the original by Utagawa Hiroshige

0:23:04.600 --> 0:23:09.399
<v Speaker 2>is like carved out of wood, inked and then stamped.

0:23:09.000 --> 0:23:12.440
<v Speaker 1>Is just how you know, Yeah, it's incredible.

0:23:13.280 --> 0:23:16.720
<v Speaker 2>So also in Paris, we talked about how he suffered

0:23:16.720 --> 0:23:21.040
<v Speaker 2>his first real depressive episode in his early twenties. Paris

0:23:21.240 --> 0:23:25.600
<v Speaker 2>was the point where his full blown recurring mental illness

0:23:25.720 --> 0:23:29.880
<v Speaker 2>really started to take hold. It seems like the more

0:23:29.920 --> 0:23:32.879
<v Speaker 2>he pushed himself, the more exhausted he got, the more

0:23:33.520 --> 0:23:38.280
<v Speaker 2>his mental illness was triggered and he could push himself.

0:23:38.320 --> 0:23:40.560
<v Speaker 2>That guy. I mean, like you said, he was painting

0:23:40.600 --> 0:23:44.439
<v Speaker 2>a painting a day, day after day after day for

0:23:44.480 --> 0:23:47.639
<v Speaker 2>a while. So yeah, yeah, he was very capable of

0:23:47.640 --> 0:23:50.920
<v Speaker 2>working until he was exhausted. So he really started doing

0:23:50.960 --> 0:23:54.720
<v Speaker 2>that around this time, eighteen eighty seven eighty eight, that

0:23:54.880 --> 0:23:59.240
<v Speaker 2>kind of thing. And I guess he lived in Paris

0:23:59.240 --> 0:24:02.560
<v Speaker 2>for two years and moved to Arle, which I know

0:24:02.600 --> 0:24:05.040
<v Speaker 2>is not exactly how you say it, but it's in Provence.

0:24:05.640 --> 0:24:07.320
<v Speaker 2>And I mean, dude, if you want to be like

0:24:07.440 --> 0:24:10.040
<v Speaker 2>inspired by nature, just move to Provence.

0:24:11.040 --> 0:24:11.720
<v Speaker 1>Never been there.

0:24:12.440 --> 0:24:15.080
<v Speaker 2>I haven't either, but just from pictures I've seen on

0:24:15.119 --> 0:24:18.280
<v Speaker 2>the TV, yeah, I'm telling you it's inspiring.

0:24:19.160 --> 0:24:22.600
<v Speaker 1>Yeah. He wanted a more chill life for sure. So

0:24:23.600 --> 0:24:28.040
<v Speaker 1>in eighteen eighty eight, that's when he split. He was

0:24:28.320 --> 0:24:31.080
<v Speaker 1>painting a little more intensely at this point, and the

0:24:31.080 --> 0:24:35.119
<v Speaker 1>colors got even more bold and his brushwork, like I

0:24:35.119 --> 0:24:37.760
<v Speaker 1>think that's one of the things he was got inspired

0:24:37.760 --> 0:24:39.679
<v Speaker 1>by from the Impressionists, was really kind of showing the

0:24:39.680 --> 0:24:43.840
<v Speaker 1>brushwork and all of a sudden you're getting those farm

0:24:43.880 --> 0:24:47.399
<v Speaker 1>fields and the wheat, a lot of wheat orchard stuff

0:24:47.440 --> 0:24:50.560
<v Speaker 1>like that. And then eventually he would paint a lot

0:24:50.680 --> 0:24:52.920
<v Speaker 1>of the Yellow House is what he called it, where

0:24:52.920 --> 0:24:56.480
<v Speaker 1>he lived. He lived there and he would end up

0:24:56.480 --> 0:25:00.680
<v Speaker 1>renting out rooms as we'll see, to different painters, and

0:25:01.040 --> 0:25:03.720
<v Speaker 1>that's where the sunflowers started too. Very famous for his

0:25:03.720 --> 0:25:04.760
<v Speaker 1>sunflower paintings.

0:25:04.960 --> 0:25:07.840
<v Speaker 2>Yeah, there's one that I saw was called the still

0:25:07.880 --> 0:25:10.919
<v Speaker 2>life version of the Mona Lisa. That's how good it is.

0:25:11.119 --> 0:25:13.760
<v Speaker 2>Another thing I didn't realize. I've seen much of his work,

0:25:14.240 --> 0:25:17.520
<v Speaker 2>but from researching this, I kept zooming into paintings that

0:25:18.119 --> 0:25:23.560
<v Speaker 2>we were talking about, and he was really good. Like

0:25:23.640 --> 0:25:26.239
<v Speaker 2>when you zoom in and look at the brushwork and

0:25:26.280 --> 0:25:29.919
<v Speaker 2>see what he's doing with it, it's a whole different painting.

0:25:29.960 --> 0:25:33.439
<v Speaker 2>I mean, it's Impressionism for you, but it looks so

0:25:33.640 --> 0:25:37.800
<v Speaker 2>much more childish. And I know his work was described

0:25:37.920 --> 0:25:41.000
<v Speaker 2>like that during his lifetime, from like zoomed out, like

0:25:41.080 --> 0:25:42.800
<v Speaker 2>normally how you would look at a painting, but when

0:25:42.840 --> 0:25:46.359
<v Speaker 2>you go into it, it's like such genius that it

0:25:46.400 --> 0:25:49.119
<v Speaker 2>almost seems like it would be difficult to make it

0:25:49.160 --> 0:25:52.040
<v Speaker 2>look childish. It's that good, you know what I mean?

0:25:52.600 --> 0:25:55.359
<v Speaker 1>Yeah, I when I go to museums, I you know,

0:25:55.400 --> 0:25:57.240
<v Speaker 1>I make sure i'm not obnoxious about it and like

0:25:57.280 --> 0:26:00.760
<v Speaker 1>black people and stuff. But when I get a chance,

0:26:00.840 --> 0:26:02.800
<v Speaker 1>I will, I will get in there as close as

0:26:02.960 --> 0:26:05.840
<v Speaker 1>you know, allowable to really kind of look at what's

0:26:05.880 --> 0:26:07.920
<v Speaker 1>going on on a close level, and not for any

0:26:07.960 --> 0:26:10.080
<v Speaker 1>kind of obviously study for myself because they don't paint.

0:26:10.119 --> 0:26:12.359
<v Speaker 1>But there's something about it that makes it a little

0:26:12.359 --> 0:26:16.399
<v Speaker 1>more uh real, Like you can actually see like what

0:26:16.520 --> 0:26:19.360
<v Speaker 1>somebody was doing rather than you know, just looking at

0:26:19.359 --> 0:26:20.480
<v Speaker 1>the hole from afar.

0:26:20.960 --> 0:26:24.240
<v Speaker 2>Yeah, it definitely connects you more to the painter, for sure,

0:26:24.400 --> 0:26:27.200
<v Speaker 2>because it sinks in like somebody was standing in front

0:26:27.240 --> 0:26:29.680
<v Speaker 2>of this canvas like one hundred and fifty years ago

0:26:30.320 --> 0:26:32.960
<v Speaker 2>putting their brush to it, like that happened at one point,

0:26:33.040 --> 0:26:33.240
<v Speaker 2>you know.

0:26:33.400 --> 0:26:34.879
<v Speaker 1>Yeah, for sure, I love that stuff.

0:26:35.160 --> 0:26:37.200
<v Speaker 2>Do you get really close and put your finger right

0:26:37.240 --> 0:26:39.480
<v Speaker 2>over and go, I'm not touching it, I'm not touching

0:26:39.520 --> 0:26:40.560
<v Speaker 2>it to the security guard.

0:26:40.880 --> 0:26:42.720
<v Speaker 1>Yeah, Well, sometimes if they're not looking at like to

0:26:42.800 --> 0:26:44.760
<v Speaker 1>chip a little piece of the paint off and just

0:26:44.800 --> 0:26:48.000
<v Speaker 1>take it as a soon here, do.

0:26:47.960 --> 0:26:50.280
<v Speaker 2>You like stick it inside your cheek to smuggle it out?

0:26:50.480 --> 0:26:50.680
<v Speaker 1>Yeah?

0:26:50.760 --> 0:26:55.399
<v Speaker 2>Yeah, so yeah, Sunflowers, that was the one that I

0:26:55.840 --> 0:26:57.640
<v Speaker 2>first really looked at and was like Oh my god,

0:26:57.680 --> 0:27:00.760
<v Speaker 2>this is way better than I thought it was. Yeah,

0:27:00.800 --> 0:27:04.119
<v Speaker 2>he started. He's also obviously very well known for starry nights,

0:27:04.800 --> 0:27:07.040
<v Speaker 2>and his first one was Starry Night over the Rhone

0:27:07.160 --> 0:27:12.720
<v Speaker 2>River in eighteen eighty eight, and his starry Nights would

0:27:12.720 --> 0:27:15.800
<v Speaker 2>be kind of like a gift and a curse, like

0:27:15.840 --> 0:27:21.440
<v Speaker 2>they became his most beloved works essentially, But he kind

0:27:21.480 --> 0:27:23.280
<v Speaker 2>of beat himself up about him because he's like, this

0:27:23.359 --> 0:27:26.040
<v Speaker 2>isn't quite right. But I almost get the impression that

0:27:26.119 --> 0:27:29.639
<v Speaker 2>to him, they were right, but he just he was

0:27:29.760 --> 0:27:33.679
<v Speaker 2>kind of adjusting his interpretation of them based on the

0:27:33.680 --> 0:27:35.959
<v Speaker 2>feedback he was getting from everybody else, Like he was

0:27:36.280 --> 0:27:40.800
<v Speaker 2>subsuming his feelings about it to everybody else's dislike of it, Like, yeah,

0:27:40.840 --> 0:27:43.159
<v Speaker 2>you're right, it's not very good kind of thing. It

0:27:43.240 --> 0:27:45.760
<v Speaker 2>seemed to be specific to those starry knights.

0:27:45.840 --> 0:27:49.639
<v Speaker 1>Yeah, And just how tough was that, as someone who

0:27:49.720 --> 0:27:53.320
<v Speaker 1>obviously was extremely talented and producing what would be some

0:27:53.359 --> 0:27:55.520
<v Speaker 1>of the most beloved works of art after his death,

0:27:55.960 --> 0:28:00.600
<v Speaker 1>to constantly be getting that feedback from art credit and

0:28:00.720 --> 0:28:03.159
<v Speaker 1>although he wasn't even on the radar really art critics,

0:28:03.160 --> 0:28:05.440
<v Speaker 1>but people who he would show to. And then his

0:28:05.480 --> 0:28:08.000
<v Speaker 1>own brother who was such a supporter, but had to

0:28:08.119 --> 0:28:10.920
<v Speaker 1>constantly break the news of like nobody wants to buy this.

0:28:10.880 --> 0:28:13.800
<v Speaker 2>Stuff, right, And Vincent was like, but do you have

0:28:13.880 --> 0:28:16.119
<v Speaker 2>to tell me, like verbatim, how much they said they

0:28:16.160 --> 0:28:18.800
<v Speaker 2>hated it every time? Can you just tell me you

0:28:18.800 --> 0:28:20.280
<v Speaker 2>didn't sell any of this week?

0:28:20.600 --> 0:28:22.600
<v Speaker 1>This guy said it looked like snot on canvas. I

0:28:22.640 --> 0:28:24.200
<v Speaker 1>don't know what to tell you, right.

0:28:25.080 --> 0:28:25.280
<v Speaker 3>Yeah.

0:28:25.320 --> 0:28:27.639
<v Speaker 2>And also again if you take into account Chuck that

0:28:28.160 --> 0:28:30.800
<v Speaker 2>he's not just like trying to do a still life

0:28:30.840 --> 0:28:34.359
<v Speaker 2>photo realistically and not quite getting it. So it's like

0:28:34.440 --> 0:28:38.680
<v Speaker 2>your expertise isn't that good. He's like putting himself on

0:28:38.800 --> 0:28:41.640
<v Speaker 2>the canvas and people are rejecting it. So they're rejecting

0:28:41.720 --> 0:28:45.320
<v Speaker 2>him as a human being as far as he's concerned.

0:28:45.760 --> 0:28:48.160
<v Speaker 1>Yeah, for sure. So he's in the Yellow House that

0:28:48.200 --> 0:28:50.880
<v Speaker 1>said he would rent it out to other artists. One

0:28:50.880 --> 0:28:53.640
<v Speaker 1>of those, thanks to THEO, ended up being Go Gone

0:28:53.840 --> 0:28:57.920
<v Speaker 1>because THEO was like, hey, listen, can I pay your

0:28:57.920 --> 0:29:01.040
<v Speaker 1>expenses and you go move in with my brother because

0:29:01.080 --> 0:29:03.880
<v Speaker 1>I really think it will. I think the quote was

0:29:03.880 --> 0:29:07.280
<v Speaker 1>it'll make a big change in your life. And he,

0:29:07.520 --> 0:29:09.600
<v Speaker 1>you know, he was hoping that one would inspire the

0:29:09.640 --> 0:29:12.040
<v Speaker 1>other because obviously he was wrapping them both, but he

0:29:12.120 --> 0:29:15.920
<v Speaker 1>wanted good things for Vincent and that that sort of worked,

0:29:15.920 --> 0:29:18.920
<v Speaker 1>and it didn't like they were both very productive. They

0:29:19.200 --> 0:29:23.640
<v Speaker 1>painted each other's portraits very famously, but they also fought

0:29:23.640 --> 0:29:27.760
<v Speaker 1>a lot. It was just a very volatile relationship to

0:29:27.800 --> 0:29:31.520
<v Speaker 1>the point where on Christmas Eve eighteen eighty eight, go

0:29:31.640 --> 0:29:34.360
<v Speaker 1>Gon was already planning on leaving. This wasn't the impetus

0:29:34.400 --> 0:29:37.160
<v Speaker 1>for him to leave, but Van Go threw a glass

0:29:37.160 --> 0:29:40.640
<v Speaker 1>of absinthe in his face, which I imagine, I mean, no

0:29:40.760 --> 0:29:43.360
<v Speaker 1>liquor in your face is great. Imagine absence is probably

0:29:43.400 --> 0:29:46.960
<v Speaker 1>one of the worst ones to get thrown in your face. Shirt. Yeah,

0:29:47.000 --> 0:29:49.120
<v Speaker 1>it probably stings, I would imagine. I don't know.

0:29:49.800 --> 0:29:53.600
<v Speaker 2>So Gogan was like, I'm out of here, and he left,

0:29:53.640 --> 0:29:57.040
<v Speaker 2>and Van Goh was like, hey, you can't leave. I'm leaving,

0:29:57.200 --> 0:30:01.320
<v Speaker 2>and he threatened him with a razor. Apparently, as far

0:30:01.360 --> 0:30:07.360
<v Speaker 2>as the standard story goes, Gogan kept going and Van

0:30:07.440 --> 0:30:11.000
<v Speaker 2>Go returned to the house, used the razor to cut

0:30:11.080 --> 0:30:13.600
<v Speaker 2>his ear off, wrapped it up, and took it to

0:30:13.960 --> 0:30:19.160
<v Speaker 2>a sex worker at a local brothel, and was rejected

0:30:19.200 --> 0:30:25.160
<v Speaker 2>by her. From this gift was rejected by her that is,

0:30:25.320 --> 0:30:30.800
<v Speaker 2>there's some problems with that, but it's probably the correct story.

0:30:31.240 --> 0:30:34.160
<v Speaker 2>But there's another school thought that Gogan actually cut it

0:30:34.200 --> 0:30:37.160
<v Speaker 2>off and van Go covered for him, because Gogan was

0:30:37.160 --> 0:30:40.240
<v Speaker 2>apparently a master sword fighter, carried a sword around with him,

0:30:40.680 --> 0:30:43.520
<v Speaker 2>and it's quite possible he took Vincent's ear off for

0:30:43.720 --> 0:30:46.120
<v Speaker 2>being threatened with a razor right.

0:30:46.680 --> 0:30:49.560
<v Speaker 1>Also another version of the story, they believe they found

0:30:49.640 --> 0:30:52.120
<v Speaker 1>that the woman was actually a maid at the brothel

0:30:53.120 --> 0:30:55.560
<v Speaker 1>and not a sex worker. But those are sort of

0:30:55.680 --> 0:30:59.440
<v Speaker 1>nitpicky details. I think certainly cutting off your own ear

0:30:59.480 --> 0:31:04.040
<v Speaker 1>wouldn't beat nitpicky, because that's a you know, a true

0:31:04.080 --> 0:31:07.080
<v Speaker 1>sign of a desperate sort of sort of upset that

0:31:07.440 --> 0:31:10.960
<v Speaker 1>you can only feel if you're suffering from severe mental illness.

0:31:11.000 --> 0:31:16.880
<v Speaker 1>So yeah, yeah, self mutilation is super sad. And I

0:31:16.960 --> 0:31:20.000
<v Speaker 1>think there's also like some interpretations that it might have

0:31:20.080 --> 0:31:23.400
<v Speaker 1>been influenced by the bullfighting ritual where you cut off

0:31:23.400 --> 0:31:25.120
<v Speaker 1>the bulls here to present it to a lady, But

0:31:25.880 --> 0:31:27.240
<v Speaker 1>I don't know, I'm not so sure about that.

0:31:27.840 --> 0:31:30.120
<v Speaker 2>Yeah, that seems like something he would have done on

0:31:30.200 --> 0:31:33.240
<v Speaker 2>like a calm day. Then if that was the purpose

0:31:33.280 --> 0:31:35.720
<v Speaker 2>of it, to present it to a lady. That almost

0:31:35.720 --> 0:31:41.080
<v Speaker 2>seems like it was just some impulsive thing that was

0:31:41.120 --> 0:31:43.560
<v Speaker 2>tacked on to the end of something that he wasn't planning.

0:31:43.600 --> 0:31:46.400
<v Speaker 1>You know, yeah, for sure. But the cops found him

0:31:46.400 --> 0:31:50.520
<v Speaker 1>the next day. I think he was unconscious. They obviously

0:31:50.600 --> 0:31:53.600
<v Speaker 1>went to the hospital and he was in a state

0:31:53.640 --> 0:31:56.240
<v Speaker 1>of psychosis for a few days in the hospital, and

0:31:56.320 --> 0:31:59.320
<v Speaker 1>a doctor there said, you think you have epilepsy. So

0:31:59.520 --> 0:32:01.160
<v Speaker 1>and I don't think we mentioned you know, he's suffering

0:32:01.200 --> 0:32:05.320
<v Speaker 1>from from bouts of mental illness off and on throughout

0:32:05.360 --> 0:32:08.760
<v Speaker 1>his life to this point, but also physical manifestations are

0:32:08.800 --> 0:32:12.880
<v Speaker 1>happening that in retrospect people are like, yeah, it wasn't

0:32:12.960 --> 0:32:16.160
<v Speaker 1>just mental illness coming out physically, Like, it seems like

0:32:16.200 --> 0:32:19.800
<v Speaker 1>he probably really did have epilepsy. So they gave him

0:32:19.840 --> 0:32:24.920
<v Speaker 1>potassium bromide, which he said, Vincent said, curled or stopped

0:32:24.920 --> 0:32:29.160
<v Speaker 1>his intolerable hallucinations, but he was still fainting a lot.

0:32:30.480 --> 0:32:33.360
<v Speaker 1>And he apparently didn't have any memory of what happened

0:32:33.400 --> 0:32:34.480
<v Speaker 1>with Gogon or the ear.

0:32:35.320 --> 0:32:39.080
<v Speaker 2>Yeah, so he was in that hospital for a little while.

0:32:39.120 --> 0:32:43.280
<v Speaker 2>This wasn't a psychiatric hospital, this is like a hospital hospital.

0:32:43.480 --> 0:32:46.720
<v Speaker 2>I also saw a check in that documentary that as

0:32:46.760 --> 0:32:49.160
<v Speaker 2>a gift to the doctor who cared for him, he

0:32:49.240 --> 0:32:51.800
<v Speaker 2>presented him with a painting of one of the wards

0:32:51.800 --> 0:32:54.320
<v Speaker 2>in the hospital. When doctor was like, no, thanks, it's

0:32:54.360 --> 0:32:54.960
<v Speaker 2>not very good.

0:32:55.920 --> 0:32:57.160
<v Speaker 1>So didn't even accept it.

0:32:57.200 --> 0:33:00.680
<v Speaker 2>Did not even accept it. Oh boy, So he was

0:33:00.720 --> 0:33:05.480
<v Speaker 2>released from the hospital. He pretended he was scratching its temple,

0:33:05.520 --> 0:33:07.360
<v Speaker 2>but it was with his middle finger as he was

0:33:07.360 --> 0:33:13.920
<v Speaker 2>saying bye to the doctor. Yeah, and he started painting again.

0:33:13.960 --> 0:33:18.080
<v Speaker 2>But the hospital visit helped his epilepsy, it did not

0:33:18.320 --> 0:33:21.120
<v Speaker 2>help the bouts of mental illness that he just kept

0:33:21.320 --> 0:33:24.160
<v Speaker 2>suffering over and over and over again. In between he

0:33:24.200 --> 0:33:27.160
<v Speaker 2>would just work at like a breakneck pace and then

0:33:27.360 --> 0:33:31.440
<v Speaker 2>exhaust himself, have another episode of mental illness and go

0:33:31.560 --> 0:33:35.320
<v Speaker 2>to the hospital, get out work until he exhausted himself

0:33:35.560 --> 0:33:39.320
<v Speaker 2>again and again, and so finally that the hospital was like, look, man,

0:33:40.400 --> 0:33:43.680
<v Speaker 2>you're in the wrong place now, like you need a

0:33:43.720 --> 0:33:46.360
<v Speaker 2>different kind of care than we could offer. And so

0:33:46.400 --> 0:33:50.760
<v Speaker 2>he checked himself into a sanitarium at Saint Remi and

0:33:51.080 --> 0:33:54.840
<v Speaker 2>he was there for a year being treated and that

0:33:54.960 --> 0:33:57.480
<v Speaker 2>actually helped him quite a bit being there.

0:33:58.400 --> 0:34:00.000
<v Speaker 1>I think that's a good place for a break. Because

0:34:00.080 --> 0:34:02.840
<v Speaker 1>something very interesting happened while he was there. Is that

0:34:02.880 --> 0:34:03.360
<v Speaker 1>a good time?

0:34:03.560 --> 0:34:03.840
<v Speaker 2>I think?

0:34:03.880 --> 0:34:24.080
<v Speaker 1>So? All right, we'll be right back everybody. All right, everyone,

0:34:24.120 --> 0:34:27.200
<v Speaker 1>we're back in. I said, something very interesting happened while

0:34:27.200 --> 0:34:29.880
<v Speaker 1>he was in the sanitarium. And one thing I mentioned

0:34:29.880 --> 0:34:32.680
<v Speaker 1>earlier was he painted about eighteen paintings per month. He

0:34:32.719 --> 0:34:35.520
<v Speaker 1>produced one hundred and forty three paintings while he was

0:34:35.560 --> 0:34:40.880
<v Speaker 1>staying in this sanitarium, and one of which was not

0:34:41.080 --> 0:34:44.919
<v Speaker 1>a starry Night, but the Starry Night or just storry night.

0:34:45.280 --> 0:34:47.920
<v Speaker 2>Sure pretty impressive, huh.

0:34:48.000 --> 0:34:49.080
<v Speaker 1>Yeah.

0:34:49.440 --> 0:34:53.520
<v Speaker 2>He said that he wrote in a letter I guess

0:34:53.680 --> 0:34:58.239
<v Speaker 2>that to his sister Wilhelmina, about him wanting to make

0:34:58.280 --> 0:35:01.040
<v Speaker 2>a starry night, and then in the the next breath,

0:35:01.080 --> 0:35:05.319
<v Speaker 2>he recommends she read Walt Whitman's poetry. And people went

0:35:05.360 --> 0:35:08.480
<v Speaker 2>and read song to myself and said, there's like two

0:35:08.560 --> 0:35:12.560
<v Speaker 2>stanzas in here that basically describe what starry Night looks like.

0:35:12.640 --> 0:35:16.200
<v Speaker 2>We think that Walt women essentially inspired this painting, and

0:35:16.200 --> 0:35:18.200
<v Speaker 2>that seems to be the consensus.

0:35:18.440 --> 0:35:22.240
<v Speaker 1>Yeah, And if you've never seen Starry Night, you should.

0:35:22.560 --> 0:35:24.440
<v Speaker 1>All you have to do is go to the Museum

0:35:24.480 --> 0:35:27.000
<v Speaker 1>of Modern Art in New York City and walk around

0:35:27.040 --> 0:35:28.440
<v Speaker 1>until you see crowds of people.

0:35:28.800 --> 0:35:31.200
<v Speaker 2>Yeah, they said it's their most visited painting in their

0:35:31.239 --> 0:35:31.840
<v Speaker 2>whole collection.

0:35:32.280 --> 0:35:35.200
<v Speaker 1>Yeah, it's uh, that one's you can't get close anyway,

0:35:35.239 --> 0:35:38.400
<v Speaker 1>but it's tough to even to get a great view period.

0:35:38.440 --> 0:35:40.040
<v Speaker 1>It's just there's a lot, a lot of folks around

0:35:40.080 --> 0:35:40.439
<v Speaker 1>that one.

0:35:40.560 --> 0:35:44.239
<v Speaker 2>Wow. Wow, Yeah, I would love to see that one.

0:35:44.440 --> 0:35:45.960
<v Speaker 2>I don't believe I ever have them.

0:35:46.000 --> 0:35:46.879
<v Speaker 3>Have you not seen that one?

0:35:47.000 --> 0:35:49.680
<v Speaker 2>I don't believe. So I've been to MoMA, But that

0:35:49.760 --> 0:35:52.080
<v Speaker 2>seems like weird that I wouldn't have seen it. But

0:35:52.120 --> 0:35:54.640
<v Speaker 2>then again, why didn't I form a memory of seeing it?

0:35:54.719 --> 0:35:56.560
<v Speaker 1>Well, you also don't like crowds of people, so maybe

0:35:56.560 --> 0:35:58.040
<v Speaker 1>you were like, I don't know what's going on over there,

0:35:58.080 --> 0:35:59.400
<v Speaker 1>but no, thanks.

0:35:59.080 --> 0:36:03.200
<v Speaker 2>Well that is possible. But yeah, so I have seen

0:36:03.239 --> 0:36:05.520
<v Speaker 2>it on the internet at very least, if not in person.

0:36:05.560 --> 0:36:09.720
<v Speaker 2>And it's got swirls in it that represent the wind,

0:36:09.880 --> 0:36:12.960
<v Speaker 2>like the stars are huge and out of proportion and glowing.

0:36:12.960 --> 0:36:16.040
<v Speaker 2>The moon is all odd and it's like a landscape

0:36:16.080 --> 0:36:19.440
<v Speaker 2>at night. But he just captured all of it so perfectly,

0:36:19.440 --> 0:36:22.600
<v Speaker 2>and it's all a very it's the backgrounds very dark,

0:36:22.880 --> 0:36:25.239
<v Speaker 2>dark blues and stuff like that, but it's a very

0:36:25.280 --> 0:36:30.640
<v Speaker 2>soothing like happy painting. And this was what I was

0:36:30.640 --> 0:36:34.200
<v Speaker 2>talking about earlier that even THEO is like this, I

0:36:34.239 --> 0:36:38.080
<v Speaker 2>don't like this man, and I guess Vincent wrote that

0:36:38.680 --> 0:36:42.360
<v Speaker 2>he was once again allowing myself to do stars too big.

0:36:43.200 --> 0:36:45.520
<v Speaker 1>Yeah, he said, the search for style takes away the

0:36:45.560 --> 0:36:48.600
<v Speaker 1>real sentiment of things, which sounds a little bit like

0:36:48.680 --> 0:36:54.000
<v Speaker 1>a not form over fashion fashion over form or something

0:36:54.040 --> 0:36:56.160
<v Speaker 1>I don't know, like like just trying to make something

0:36:56.200 --> 0:36:59.759
<v Speaker 1>super stylistic, but it doesn't really mean anything, which I'm

0:36:59.760 --> 0:37:03.319
<v Speaker 1>sure cut pretty deeply. So while this is going on,

0:37:04.760 --> 0:37:07.319
<v Speaker 1>he you know, is continuing to kind of slip up

0:37:07.360 --> 0:37:10.120
<v Speaker 1>and down on his as far as his mental illness

0:37:10.200 --> 0:37:13.800
<v Speaker 1>is concerned. At some point he started to like eat paint.

0:37:14.800 --> 0:37:18.239
<v Speaker 1>Some people thought it might have been a suicidal thing,

0:37:18.320 --> 0:37:21.160
<v Speaker 1>but it might have also been pika as part of

0:37:21.160 --> 0:37:22.680
<v Speaker 1>his mental illness, which is interesting.

0:37:23.080 --> 0:37:24.920
<v Speaker 2>There's a legend that it was yellow paint that he

0:37:25.000 --> 0:37:27.720
<v Speaker 2>wanted to be happy inside, which doesn't I don't think.

0:37:27.560 --> 0:37:32.440
<v Speaker 1>Hold up, Yeah, Okay, Well, he because partially because of

0:37:32.480 --> 0:37:34.640
<v Speaker 1>that he stayed away from paint altogether for a little while,

0:37:34.680 --> 0:37:37.560
<v Speaker 1>because he also had a lot of like many many

0:37:37.640 --> 0:37:41.120
<v Speaker 1>drawings throughout his career and this is his drawing period.

0:37:41.840 --> 0:37:44.080
<v Speaker 2>Yeah, I like, way more drawings than paintings.

0:37:43.719 --> 0:37:45.960
<v Speaker 1>Right, Oh, I think so. Yeah.

0:37:46.360 --> 0:37:49.840
<v Speaker 2>So THEO and he got married I think in eighteen

0:37:51.640 --> 0:37:52.279
<v Speaker 2>eighty nine.

0:37:52.480 --> 0:37:55.360
<v Speaker 1>Maybe that sounds right to a woman named.

0:37:55.600 --> 0:38:00.399
<v Speaker 2>Joe Bonger or Boninger, who would eventually play a really

0:38:00.440 --> 0:38:05.600
<v Speaker 2>pivotal role in Vincent van Go's posthumous life. And they

0:38:05.800 --> 0:38:09.560
<v Speaker 2>honored him by naming their son, their only child, Vincent,

0:38:10.200 --> 0:38:13.839
<v Speaker 2>after the kid's uncle. And van Go was very, very

0:38:13.880 --> 0:38:16.080
<v Speaker 2>touched by this, and he painted one of my I

0:38:16.080 --> 0:38:18.120
<v Speaker 2>think one of the most beautiful paintings he ever did,

0:38:18.160 --> 0:38:19.040
<v Speaker 2>Almond Blossom.

0:38:19.400 --> 0:38:20.920
<v Speaker 1>I agree, buddy, it's great.

0:38:22.080 --> 0:38:23.759
<v Speaker 2>Yeah, just go look it up. It's very much in

0:38:23.840 --> 0:38:27.160
<v Speaker 2>like the Japanese style for sure. Yeah. And he painted

0:38:27.160 --> 0:38:29.800
<v Speaker 2>it for the baby, and like, despite you know, years

0:38:29.800 --> 0:38:33.600
<v Speaker 2>and decades of van Go paintings being sold by the family,

0:38:33.640 --> 0:38:35.920
<v Speaker 2>that one did not go up for sale, and it's

0:38:35.960 --> 0:38:38.600
<v Speaker 2>even in the van Go Museum still today.

0:38:38.960 --> 0:38:40.520
<v Speaker 1>Yeah. The baby didn't want it either though.

0:38:42.440 --> 0:38:44.000
<v Speaker 2>He said, this is not very good.

0:38:44.520 --> 0:38:50.040
<v Speaker 1>Give up, spit up on it. I always hated bit term.

0:38:50.560 --> 0:38:51.520
<v Speaker 2>It's a pretty bad term.

0:38:51.600 --> 0:38:55.959
<v Speaker 1>Yeah. So THEO officially said, you know what, I'm gonna,

0:38:56.000 --> 0:38:58.279
<v Speaker 1>I'm gonna start really submitting your paintings, like I think

0:38:58.440 --> 0:39:02.120
<v Speaker 1>you are good and nobody knows it. So he started

0:39:02.160 --> 0:39:06.000
<v Speaker 1>really submitting at a more sort of serious rapid pace

0:39:06.320 --> 0:39:10.839
<v Speaker 1>in eighteen eighty eight, specifically at the annual Cilon de Independent.

0:39:13.520 --> 0:39:16.239
<v Speaker 1>In eighteen ninety, and this is just a few months

0:39:16.280 --> 0:39:21.040
<v Speaker 1>before Van Gowit would die. He was still not getting

0:39:21.080 --> 0:39:25.040
<v Speaker 1>any almost any attention, but finally in January that year

0:39:25.320 --> 0:39:28.200
<v Speaker 1>he started to get a little bit of not critical

0:39:28.320 --> 0:39:32.239
<v Speaker 1>like praise, but just people like critics looking at his

0:39:32.280 --> 0:39:35.040
<v Speaker 1>stuff and writing about his stuff. The first one, I

0:39:35.040 --> 0:39:39.120
<v Speaker 1>think was an art critic name Albert Aurier who published

0:39:39.360 --> 0:39:42.160
<v Speaker 1>I think the very first man Go Review, and he

0:39:42.239 --> 0:39:45.840
<v Speaker 1>said they initially appear strange, intense and feverish, but reflected

0:39:45.840 --> 0:39:49.839
<v Speaker 1>the continual search for the most essential sign of each thing.

0:39:50.040 --> 0:39:51.640
<v Speaker 1>So he was kind of getting it.

0:39:51.680 --> 0:39:55.640
<v Speaker 2>I think, yeah, he was digging him. Yes. And then

0:39:55.719 --> 0:39:58.719
<v Speaker 2>in eighteen so I think eighteen eighty eight, eighteen eighty nine,

0:39:58.760 --> 0:40:02.120
<v Speaker 2>and eighteen ninety his work thanks to Theo, appeared in

0:40:02.200 --> 0:40:07.000
<v Speaker 2>the Salon in Paris. He was also featured in a

0:40:07.040 --> 0:40:12.440
<v Speaker 2>Belgian salon called le vent the twenty and this is

0:40:12.440 --> 0:40:16.000
<v Speaker 2>where he sold his first, his or his one and

0:40:16.000 --> 0:40:18.000
<v Speaker 2>only painting to somebody he didn't really.

0:40:17.840 --> 0:40:22.040
<v Speaker 1>Know, right, Yeah, it was a painter, another painter named

0:40:22.040 --> 0:40:27.600
<v Speaker 1>Anna Bach, and she bought the Red Vineyard, and that

0:40:27.719 --> 0:40:29.279
<v Speaker 1>I think maybe, well, I don't know if that was

0:40:29.280 --> 0:40:32.239
<v Speaker 1>the impetus, but that's when things started to pick up

0:40:32.280 --> 0:40:35.120
<v Speaker 1>a little bit. I think later that spring, the salon

0:40:35.600 --> 0:40:38.439
<v Speaker 1>showed ten of his paintings, which was a big deal.

0:40:39.800 --> 0:40:42.560
<v Speaker 1>May of that year, May of eighteen ninety and this

0:40:42.719 --> 0:40:45.240
<v Speaker 1>was after a year being in the sanitarium. He finally

0:40:45.400 --> 0:40:49.080
<v Speaker 1>was discharged and that's where he moved to a pretty

0:40:49.120 --> 0:40:52.120
<v Speaker 1>quiet place not too far from Paris, where he had

0:40:52.160 --> 0:40:54.440
<v Speaker 1>a good doctor on hand who was able to kind

0:40:54.480 --> 0:40:57.200
<v Speaker 1>of keep up with them. And that doctor was like, hey, man,

0:40:57.320 --> 0:40:59.560
<v Speaker 1>you know what you need to do is paint like

0:41:00.120 --> 0:41:02.640
<v Speaker 1>you seem to be doing best when you're really concentrating

0:41:02.640 --> 0:41:04.759
<v Speaker 1>on the painting, so you should do that. And he did.

0:41:05.640 --> 0:41:08.160
<v Speaker 2>Yeah, he threw himself into it again. Like you were saying,

0:41:08.239 --> 0:41:11.440
<v Speaker 2>that last few months or the last year, he was

0:41:11.440 --> 0:41:14.560
<v Speaker 2>painting about a painting a day, and I've seen it,

0:41:14.600 --> 0:41:17.000
<v Speaker 2>like people say, almost as if he knew like his

0:41:17.120 --> 0:41:18.880
<v Speaker 2>time was running out and he wanted to get as

0:41:18.920 --> 0:41:20.759
<v Speaker 2>much out as he could. He focused a lot on

0:41:20.800 --> 0:41:22.880
<v Speaker 2>wheat fields, which he said earlier was one of his

0:41:23.480 --> 0:41:28.799
<v Speaker 2>favorite subjects. Apparently that represented like the sewing and the

0:41:28.840 --> 0:41:31.800
<v Speaker 2>reaping of it was like renewal and death and life

0:41:31.840 --> 0:41:35.560
<v Speaker 2>and birth and all that to him. And he was,

0:41:35.680 --> 0:41:40.400
<v Speaker 2>I guess pretty close to Paris and over and he

0:41:40.719 --> 0:41:44.280
<v Speaker 2>went and traveled once to visit THEO, and he found

0:41:44.360 --> 0:41:47.319
<v Speaker 2>that THEO was talking about going out, striking out on

0:41:47.320 --> 0:41:50.280
<v Speaker 2>his own, setting up his own art dealership, and Vincent

0:41:50.440 --> 0:41:54.319
<v Speaker 2>was like, man, that is to himself, he thought, this

0:41:54.360 --> 0:41:58.320
<v Speaker 2>is quite a risky gamble. You know what's going to

0:41:58.360 --> 0:42:00.840
<v Speaker 2>happen to my monthly stipend is that in jeopardy. But

0:42:00.880 --> 0:42:05.000
<v Speaker 2>also that will automatically make me a burden to my brother, Like,

0:42:05.040 --> 0:42:07.600
<v Speaker 2>even if he becomes successful, it's not going to be overnight.

0:42:08.040 --> 0:42:10.520
<v Speaker 2>And in that time between him taking this big risk

0:42:11.080 --> 0:42:14.000
<v Speaker 2>and becoming a success, I'm going to be an even

0:42:14.080 --> 0:42:16.359
<v Speaker 2>bigger burden than I am. That was something he.

0:42:16.360 --> 0:42:18.839
<v Speaker 1>Concluded, Yeah, yeah, for sure. And that was in July

0:42:18.920 --> 0:42:21.920
<v Speaker 1>of eighteen ninety and later that month, on July twenty seventh,

0:42:21.920 --> 0:42:25.040
<v Speaker 1>he shot himself in the chest and took his own life.

0:42:26.400 --> 0:42:30.160
<v Speaker 1>We covered that in more detail in the what was

0:42:30.200 --> 0:42:31.320
<v Speaker 1>it Mysteries of the Art world?

0:42:31.520 --> 0:42:34.920
<v Speaker 2>Yeah seven, no, wait five Mysteries of the Art twenty

0:42:35.000 --> 0:42:35.720
<v Speaker 2>twenty white.

0:42:36.040 --> 0:42:39.120
<v Speaker 1>Yeah, so you can go get that full story there.

0:42:39.160 --> 0:42:43.960
<v Speaker 1>But yeah, it was I think they He didn't die immediately,

0:42:44.200 --> 0:42:47.920
<v Speaker 1>and THEO made it from Paris to be there with

0:42:48.000 --> 0:42:49.800
<v Speaker 1>him when he died a couple of days later.

0:42:49.760 --> 0:42:52.560
<v Speaker 2>Which is so sweet. I mean they were so tight.

0:42:52.600 --> 0:42:54.959
<v Speaker 2>They're actually buried next to one another in that town.

0:42:55.680 --> 0:42:58.520
<v Speaker 1>Yeah. Tight, but also fraud. You know, there a lot

0:42:58.560 --> 0:42:59.520
<v Speaker 1>of arguing stuff too, but.

0:42:59.520 --> 0:43:02.560
<v Speaker 2>That's brother but that was mostly from Vincent's side, right.

0:43:03.520 --> 0:43:06.080
<v Speaker 1>Well, I mean I just you know, saw it could

0:43:06.120 --> 0:43:10.399
<v Speaker 1>be a rough relationship, but again as brothers and also

0:43:10.520 --> 0:43:13.360
<v Speaker 1>business partners, and one had a real tough time with

0:43:13.440 --> 0:43:15.759
<v Speaker 1>mental illness, so none of it is unexpected.

0:43:17.000 --> 0:43:21.640
<v Speaker 2>So again, it's very much bandied about that Van Goh

0:43:21.680 --> 0:43:25.520
<v Speaker 2>was unknown and unappreciated in his time, and generally that's true.

0:43:25.560 --> 0:43:28.520
<v Speaker 2>But like when he was showing at the salons, other

0:43:28.920 --> 0:43:33.080
<v Speaker 2>painters like Monet would say to Theo, like, tell your

0:43:33.080 --> 0:43:35.400
<v Speaker 2>brother that his was the best work at the salon,

0:43:35.520 --> 0:43:38.040
<v Speaker 2>like he's great. He had a claim with people who

0:43:38.120 --> 0:43:42.760
<v Speaker 2>knew what they were talking about, but generally he didn't.

0:43:43.080 --> 0:43:45.880
<v Speaker 2>The reason why we know of him today and the

0:43:45.920 --> 0:43:50.520
<v Speaker 2>reason why his genius is seen and valued is because

0:43:50.560 --> 0:43:55.080
<v Speaker 2>of Joe Bonger, his sister in law, who very shortly,

0:43:55.120 --> 0:43:58.200
<v Speaker 2>I think six months after Vincent died. THEO died. Some

0:43:58.200 --> 0:44:00.799
<v Speaker 2>say of a broken heart, some say of siphus, some

0:44:00.880 --> 0:44:05.520
<v Speaker 2>say of both, and she inherited like all of essentially

0:44:05.560 --> 0:44:07.880
<v Speaker 2>all of Vincent van Gogo's paintings.

0:44:08.200 --> 0:44:13.000
<v Speaker 1>Yeah, I mean this is kind of the h in

0:44:13.040 --> 0:44:15.600
<v Speaker 1>a way, sort of the hero of the story here,

0:44:15.680 --> 0:44:19.160
<v Speaker 1>because now with THEO gone and Vincent still having not

0:44:19.280 --> 0:44:24.000
<v Speaker 1>achieved great fame, you're left with Joe to do something.

0:44:24.560 --> 0:44:27.160
<v Speaker 1>And you know, she was like, listen, I don't have

0:44:27.239 --> 0:44:30.000
<v Speaker 1>a background in this. This was my husband's line. So

0:44:30.080 --> 0:44:33.719
<v Speaker 1>she taught herself. She devoted to herself to studying art.

0:44:34.560 --> 0:44:38.279
<v Speaker 1>She devoted herself to studying the business of art, and

0:44:38.360 --> 0:44:44.000
<v Speaker 1>she really worked tirelessly to after his death, raise his profile.

0:44:44.200 --> 0:44:47.440
<v Speaker 1>And I get the impression that wasn't like, oh, I

0:44:47.480 --> 0:44:48.920
<v Speaker 1>got all these paintings so I can get a lot

0:44:48.960 --> 0:44:51.680
<v Speaker 1>of money. It was like to honor someone she thought

0:44:51.719 --> 0:44:52.600
<v Speaker 1>was really talented.

0:44:53.120 --> 0:44:56.040
<v Speaker 2>Yes, absolutely, Yeah, she wanted to make sure that he

0:44:56.160 --> 0:44:59.520
<v Speaker 2>was appreciated finally, even if it wasn't in his lifetime.

0:44:59.760 --> 0:45:01.880
<v Speaker 2>She she had a hard time going at first, like

0:45:01.920 --> 0:45:04.640
<v Speaker 2>she still couldn't quite convince people. I guess she was

0:45:04.719 --> 0:45:07.160
<v Speaker 2>just being like, look see it's good, it's good, and

0:45:07.200 --> 0:45:10.560
<v Speaker 2>that wasn't taking. So she went through the letters between

0:45:10.760 --> 0:45:14.880
<v Speaker 2>THEO and Vincent that THEO had kept and realized, like

0:45:14.920 --> 0:45:17.920
<v Speaker 2>he talks van Goh talks a lot about like his

0:45:18.000 --> 0:45:21.200
<v Speaker 2>style is technique, his inspiration, his mental health struggles in

0:45:21.280 --> 0:45:24.200
<v Speaker 2>these letters and she was like, this is how you

0:45:24.239 --> 0:45:28.080
<v Speaker 2>interpret Vincent Vango's work. You understand his background, his biography,

0:45:28.120 --> 0:45:32.360
<v Speaker 2>his struggles, and that now is just so commonplace and ubiquitous.

0:45:32.400 --> 0:45:36.799
<v Speaker 2>That's just part of learning about art. And this is

0:45:36.800 --> 0:45:39.200
<v Speaker 2>where it came from. It came from Joe Bonger trying

0:45:39.239 --> 0:45:41.520
<v Speaker 2>to get people to understand Vincent van Gogh.

0:45:42.080 --> 0:45:44.440
<v Speaker 1>Yeah, which is I never knew that. It's a super

0:45:44.480 --> 0:45:47.440
<v Speaker 1>cool kind of cherry on this story that when you

0:45:47.440 --> 0:45:49.160
<v Speaker 1>go and you read about the artists and that just

0:45:49.200 --> 0:45:51.880
<v Speaker 1>adds so much more to it. That came from her idea,

0:45:52.520 --> 0:45:55.600
<v Speaker 1>which is pretty amazing. She got up initially a critic

0:45:55.920 --> 0:46:00.520
<v Speaker 1>named Jan Veth who did not love the pay. But

0:46:00.560 --> 0:46:04.239
<v Speaker 1>then after the letters, that's when Yan came around and

0:46:04.400 --> 0:46:06.920
<v Speaker 1>was swayed and was like, he really quote seeks the

0:46:07.040 --> 0:46:09.600
<v Speaker 1>raw root of things. And I think, you know, once

0:46:09.640 --> 0:46:11.400
<v Speaker 1>they knew this story, they were like, oh my gosh,

0:46:11.400 --> 0:46:13.960
<v Speaker 1>this is this tortured human that put everything into these

0:46:14.000 --> 0:46:16.319
<v Speaker 1>paintings and now I'm seeing them in a different light.

0:46:16.520 --> 0:46:19.279
<v Speaker 1>And that was that was it. I think. Since her

0:46:19.400 --> 0:46:23.759
<v Speaker 1>death in nineteen twenty five, you know, his paintings have

0:46:23.840 --> 0:46:25.760
<v Speaker 1>sold to the tune of about one hundred and seventeen

0:46:25.800 --> 0:46:29.560
<v Speaker 1>million dollars. The bang Go Museum there in Amsterdam, which

0:46:30.040 --> 0:46:33.200
<v Speaker 1>I have been to, it's well worth a trip, opened

0:46:33.239 --> 0:46:36.320
<v Speaker 1>in nineteen seventy three, gets a couple of million visitors

0:46:36.400 --> 0:46:39.880
<v Speaker 1>every year, and he's one of the most famous painters

0:46:39.880 --> 0:46:40.560
<v Speaker 1>of all time. Now.

0:46:40.920 --> 0:46:42.600
<v Speaker 2>Yeah, and one of the reasons why I saw was

0:46:42.640 --> 0:46:45.239
<v Speaker 2>because he wore his heart on his sleeve. He did

0:46:45.280 --> 0:46:48.120
<v Speaker 2>the same thing with his painting, and people just connect

0:46:48.160 --> 0:46:51.279
<v Speaker 2>with that. And I mean, just from listening to this Chuck,

0:46:51.320 --> 0:46:53.920
<v Speaker 2>I imagine a lot of people were like, yeah, he

0:46:54.000 --> 0:46:57.480
<v Speaker 2>really was kind of a neat guy. Yeah, a tortured

0:46:57.560 --> 0:46:59.880
<v Speaker 2>artist too. And that's another place where this kind of

0:46:59.880 --> 0:47:04.560
<v Speaker 2>came from. The idea of somebody suffering for their art

0:47:05.000 --> 0:47:07.719
<v Speaker 2>and their art being great because of their struggles with

0:47:07.800 --> 0:47:11.960
<v Speaker 2>mental illness. That also kind of came from the profile

0:47:12.120 --> 0:47:14.440
<v Speaker 2>of van Go being raised at the same time. And

0:47:14.520 --> 0:47:17.120
<v Speaker 2>over time people have been like, well, what did he

0:47:17.200 --> 0:47:21.960
<v Speaker 2>suffer from? Specifically? We don't really know, but there are

0:47:22.040 --> 0:47:25.960
<v Speaker 2>some clues here there that kind of point in a

0:47:25.960 --> 0:47:27.000
<v Speaker 2>couple of directions.

0:47:27.480 --> 0:47:30.760
<v Speaker 1>Yeah, for sure, I think everyone agrees, like I said earlier,

0:47:30.840 --> 0:47:36.040
<v Speaker 1>that he was epileptic, but you know, probably bipolar disorder

0:47:36.120 --> 0:47:39.400
<v Speaker 1>is what a lot of people agree on. Possibly schizophrenia.

0:47:40.239 --> 0:47:42.520
<v Speaker 1>You know, he talked about hallucinations and stuff like that.

0:47:43.400 --> 0:47:46.279
<v Speaker 1>He also drank a lot, which definitely did not help

0:47:46.400 --> 0:47:50.120
<v Speaker 1>along the way. He did not in his like previous

0:47:50.120 --> 0:47:52.160
<v Speaker 1>family history at least as far as anyone knows, have

0:47:53.200 --> 0:47:56.920
<v Speaker 1>a long documented history of mental illness, but one of

0:47:56.960 --> 0:48:01.640
<v Speaker 1>his sisters was diagnosed with schizophrenia and was in an

0:48:01.680 --> 0:48:04.960
<v Speaker 1>asylum I think a few years after Vincent died. And

0:48:05.040 --> 0:48:09.279
<v Speaker 1>he had a brother named Cornelius who died in South

0:48:09.320 --> 0:48:13.440
<v Speaker 1>Africa while serving in the army, and it is speculated

0:48:13.440 --> 0:48:15.680
<v Speaker 1>that he may have taken his own life as well.

0:48:15.760 --> 0:48:18.759
<v Speaker 2>Right, you have a ten percent chance of having schizophrenia

0:48:18.760 --> 0:48:21.800
<v Speaker 2>if one of your siblings doesn't. For people in general population,

0:48:21.840 --> 0:48:25.920
<v Speaker 2>it's just one percent, So that definitely increased the possibility.

0:48:26.520 --> 0:48:29.479
<v Speaker 2>Before we finished, Chuck, I just want to briefly mention

0:48:29.560 --> 0:48:32.200
<v Speaker 2>that anecdote that was in that one article I sent

0:48:32.239 --> 0:48:36.400
<v Speaker 2>you about that cafe being foreclosed on with all of

0:48:36.440 --> 0:48:39.960
<v Speaker 2>his paintings trapped inside. Oh yeah, so he was showing

0:48:40.040 --> 0:48:42.320
<v Speaker 2>like I think they said, one hundred paintings or something

0:48:43.000 --> 0:48:45.200
<v Speaker 2>in this cafe. It was like an exhibit of van

0:48:45.239 --> 0:48:47.399
<v Speaker 2>Go like early van Go stuff when he first moved

0:48:47.440 --> 0:48:51.400
<v Speaker 2>to Paris, and the cafe owner like wasn't making their payments,

0:48:51.400 --> 0:48:55.160
<v Speaker 2>so the cafe got foreclosed on, locked up, and everything inside,

0:48:55.280 --> 0:48:58.120
<v Speaker 2>including Vango's paintings, which were not owned by the cafe,

0:48:58.600 --> 0:49:02.160
<v Speaker 2>were auctioned off, and they were so disliked that they

0:49:02.160 --> 0:49:06.200
<v Speaker 2>were bundled together in bunches of ten so that people

0:49:06.239 --> 0:49:08.959
<v Speaker 2>who bought them could go and scrape the paintings off

0:49:08.960 --> 0:49:11.839
<v Speaker 2>and sell them at a higher price than they bought

0:49:11.920 --> 0:49:16.719
<v Speaker 2>the ten van Goes for as blank canvases. Wow, And

0:49:16.760 --> 0:49:19.040
<v Speaker 2>he still was just like, well, I guess I needed

0:49:19.040 --> 0:49:21.160
<v Speaker 2>to just get up and dust myself up. Yeah, he

0:49:21.239 --> 0:49:24.120
<v Speaker 2>was like the Joe Dirt of the nineteenth century French

0:49:24.520 --> 0:49:29.640
<v Speaker 2>and Dutch art world. I never saw that same thing.

0:49:29.880 --> 0:49:34.200
<v Speaker 2>He was essentially a van Go. Okay, all right, okay,

0:49:34.280 --> 0:49:35.959
<v Speaker 2>thanks for humoring me with that one.

0:49:35.880 --> 0:49:37.600
<v Speaker 1>Because that's just I love it. Good story.

0:49:37.800 --> 0:49:39.720
<v Speaker 2>All right, Well, Chuck said that was a good story,

0:49:39.800 --> 0:49:41.919
<v Speaker 2>So I think we should end this on a high

0:49:41.920 --> 0:49:43.560
<v Speaker 2>note and go straight to listener mail.

0:49:45.960 --> 0:49:48.759
<v Speaker 1>This is about the seven thirty seven macs. Hey, guys,

0:49:48.800 --> 0:49:51.640
<v Speaker 1>love the show. Been listening for a few years. I'm

0:49:51.760 --> 0:49:55.680
<v Speaker 1>an embedded control software engineer, not for Boeing, but in

0:49:55.840 --> 0:49:59.640
<v Speaker 1>another industry where mistakes could kill people. For me, Boeing

0:49:59.680 --> 0:50:02.840
<v Speaker 1>was allway an aspirational company, so watching the news on

0:50:03.760 --> 0:50:07.560
<v Speaker 1>mcast was like meaning a disappointing drunk hero. At the time,

0:50:07.600 --> 0:50:09.279
<v Speaker 1>my peers and I were following the news and doing

0:50:09.280 --> 0:50:11.280
<v Speaker 1>our best to read between the lines. We were frankly

0:50:11.640 --> 0:50:14.120
<v Speaker 1>disgusted to see that they actually deployed a single point

0:50:14.120 --> 0:50:17.320
<v Speaker 1>of failure all the way to production. It was baffling

0:50:17.320 --> 0:50:20.360
<v Speaker 1>to us because we knew our internal processes would have

0:50:20.360 --> 0:50:23.600
<v Speaker 1>stopped a program dead with that much risk. Surely Boeing

0:50:23.880 --> 0:50:26.520
<v Speaker 1>held even higher standards. It was clear that a complete

0:50:26.560 --> 0:50:29.840
<v Speaker 1>cultural and ethical breakdown occurred to allow the mcast to

0:50:29.920 --> 0:50:35.799
<v Speaker 1>exist without redundancy and sensor voting or rationality checks and

0:50:35.920 --> 0:50:39.280
<v Speaker 1>voting as in quotes. Even worse, they allowed a helper

0:50:39.320 --> 0:50:44.719
<v Speaker 1>system enough control authority to destabilize the vehicle. It's antithetical

0:50:44.760 --> 0:50:49.319
<v Speaker 1>to the control's engineering title anyway. Certainly didn't expect to

0:50:49.360 --> 0:50:52.680
<v Speaker 1>reignite professional rage on my commute today. Guys. So that

0:50:52.760 --> 0:50:55.640
<v Speaker 1>was a ten out of ten episode, and that is

0:50:56.000 --> 0:50:58.520
<v Speaker 1>from Travis. Last name withheld nice.

0:50:58.800 --> 0:51:01.239
<v Speaker 2>Travis, somebody who knows that they're talking about gave us

0:51:01.239 --> 0:51:02.040
<v Speaker 2>a ten out of ten.

0:51:02.160 --> 0:51:04.080
<v Speaker 1>Chuck, Yeah, that always feels nice.

0:51:04.440 --> 0:51:07.759
<v Speaker 2>I assume there's a would recommend after that, I hope.

0:51:07.800 --> 0:51:11.040
<v Speaker 2>So I'm going to assume that Travis works in the

0:51:11.120 --> 0:51:12.239
<v Speaker 2>law and dart industry.

0:51:12.800 --> 0:51:14.480
<v Speaker 1>Right there you go.

0:51:15.160 --> 0:51:16.799
<v Speaker 2>If you want to be like Travis and send us

0:51:16.800 --> 0:51:19.680
<v Speaker 2>an awesome email because you're an expert and something we

0:51:19.760 --> 0:51:21.799
<v Speaker 2>talked about. We love that kind of stuff. Even if

0:51:21.840 --> 0:51:23.879
<v Speaker 2>you're like you guys kind of got this wrong, that's

0:51:23.920 --> 0:51:26.160
<v Speaker 2>all right, We want to hear from you. Send us

0:51:26.200 --> 0:51:33.040
<v Speaker 2>an email to Stuff podcast at iHeartRadio dot com.

0:51:33.200 --> 0:51:36.080
<v Speaker 1>Stuff you Should Know is a production of iHeartRadio. For

0:51:36.160 --> 0:51:40.359
<v Speaker 1>more podcasts, my heart Radio, visit the iHeartRadio app, Apple podcasts,

0:51:40.480 --> 0:51:42.320
<v Speaker 1>or wherever you listen to your favorite shows.