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The first weeks of 1889 would not be easy for Vincent van Gogh. After his recovery, Vincent returned to his Yellow House, but continued to visit Dr. Rey for examinations and to have his head dressings changed. Vincent was encouraged by his progress after the breakdown, but his money problems continued and he felt particularly depressed when his close friend, Joseph Roulin (1841-1903), decided to accept a better paying position and move with his family to Marseilles. Roulin had been a dear and faithful friend to Vincent for most of his time in Arles.

Vincent was quite productive in terms of his art throughout January and early February, producing some of his best known works such as La Berceuse and Sunflowers. On 7 February, however, Vincent suffered another attack in which he imagined himself being poisoned. Once again, Vincent was taken to the Hôtel-Dieu hospital for observation. Van Gogh was kept in the hospital for ten days, but returned once again to the Yellow House, provisionally: "I hope for good." (Letter 577)

By this time, however, some of the citizens of Arles had become alarmed by Vincent's behaviour and signed a petition detailing their concerns. The petition was submitted to the mayor of Arles and eventually to the superintendent of police who ordered Van Gogh readmitted to the Hôtel-Dieu hospital. Vincent remained in the hospital for the next six weeks, but was allowed to leave on supervised outings--in order to paint and to put his possessions into storage. It was a productive, but emotionally discouraging time for Van Gogh. As was the case a year before, Van Gogh returned to painting the blossoming orchards around Arles. But even as he was producing some of his best works, Vincent realized that his position was a precarious one and, after discussions with Theo, agreed to have himself voluntarily confined to the Saint-Paul-de-Mausole asylum in Saint-Rémy-de-Provence. Van Gogh left Arles on 8 May.

Confinement

Upon arrival at the asylum, Van Gogh was placed in the care of Dr. Théophile Zacharie Auguste Peyron (1827-95). After examining Vincent and reviewing the case, Dr. Peyron was convinced that his patient was suffering from a type of epilepsy--a diagnosis that remains among the most likely possibilities, even today. The asylum was by no means a "snake pit," but Van Gogh was disheartened by the cries of the other residents and the bad food. He found it depressing that the patients had nothing to do all day--no stimulation of any kind. Part of Van Gogh's treatment included "hydro-therapy", a frequent immersion in a large tub of water. While this "therapy" was certainly not cruel in any way, neither was it in the least beneficial in terms of helping to restore Vincent's mental health.

As the weeks passed, Vincent's mental well-being remained stable and he was allowed to resume painting. The staff was encouraged by Van Gogh's progress (or, at least, at his not suffering any additional attacks) and in mid-June Van Gogh produced his best known work: Starry Night.

Van Gogh's relatively tranquil state of mind didn't last, however, and he was incapacitated by another attack in mid-July. During this attack Vincent tried to ingest his own paints and for that reason he was confined and not given access to his materials. Although he recovered fairly quickly from the incident, Van Gogh was discouraged at being deprived of the one thing that gave him pleasure and distraction: his art. After another week, Dr. Peyron relented and agreed to allow Van Gogh to resume his painting. His resumption of work coincided with an improved mental state. Vincent sent Theo letters detailing his precarious state of health; while at the same time Theo had similar issues to deal with. Theo's health had often been delicate and he had been ill throughout much of early 1889.

For two months Van Gogh was unable to leave his room and wrote to his sister: " . . . when I am in the fields I am overwhelmed by a feeling of loneliness to such a horrible extent that I shy away from going out . . . ." (Letter W14) In the weeks to follow, however, Vincent would again overcome his anxieties and resume working. During this time Vincent began to plan for his eventual departure from the asylum at Saint-Rémy. He expressed these thoughts to Theo who began to make inquiries of possible alternatives for Vincent's medical care--this time much closer to Paris.

Van Gogh's mental and physical health remained fairly stable throughout the remainder of 1889. Theo's health had recovered for the most part and, in the midst of preparing a home with his new wife, Theo was also assisting Octave Maus who was organizing an exhibition, Les XX, in Brussels in which six of Vincent's paintings would be displayed. Vincent seemed enthusiastic about the venture and remained quite productive throughout this time. The ongoing correspondence between Vincent and Theo worked out many of the details surrounding Vincent's showing within the exhibit.

On 23 December 1889, a year to the day after the ear slashing incident, Vincent suffered another attack: an "aberration" as he called it (Letter 620). The attack was serious and lasted about a week, but Vincent recovered reasonably quickly and resumed painting--this time mainly copies of other artists' works, due to being confined inside, both because of his mental health and also because of the weather. Sadly, Van Gogh suffered more attacks throughout the early months of 1890. These attacks came more frequently and left Vincent more incapacitated than any of those previously. Ironically, during this time when Van Gogh was probably at his lowest and most mentally despondent state, his works were finally beginning to receive critical acclaim. News of this, however, only served to depress Vincent further and renewed his hopes to leave the asylum and return to the north.

After making some inquiries, Theo felt that the best course of action would be for Vincent to return to Paris and then enter the care of Dr. Paul Gachet (1828-1909), a homeopathic therapist living in Auvers-sur-Oise, near Paris. Vincent agreed with Theo's plans and wrapped up his affairs in Saint-Rémy. On 16 May 1890 Vincent van Gogh left the asylum and took an overnight train to Paris.

"The sadness will last forever . . . . "

Vincent's journey to Paris was uneventful and he was met by Theo upon his arrival. Vincent remained with Theo, Theo's wife Johanna and their newborn son, Vincent Willem (named after Vincent) for three pleasant days. Never one to enjoy the hustle and bustle of city life, however, Vincent felt some stress returning and opted to leave Paris for the more quiet destination, Auvers-sur-Oise.

Vincent met with Dr. Gachet shortly after his arrival in Auvers. Although initially impressed by Gachet, Vincent would later express grave doubts about his competence, going so far as to comment that Gachet appeared to be "sicker than I am, I think, or shall we say just as much" (Letter 648). Despite his misgivings, however, Vincent managed to find himself a room in a small inn owned by Arthur Gustave Ravoux and immediately began painting the environs of Auvers-sur-Oise.

Over the course of the next two weeks, Van Gogh's opinion about Gachet softened somewhat and he became completely absorbed in his painting. Vincent was pleased with Auvers-sur-Oise, which afforded him the freedom denied him in Saint-Rémy, while at the same time provided him with ample subjects for his painting and drawing. Vincent's first weeks in Auvers passed pleasantly and uneventfully. On 8 June Theo, Jo and the baby came to Auvers to visit Vincent and Gachet and Vincent passed a very enjoyable day with his family. To all appearances, Vincent appeared quite restored--mentally and physically.

Throughout June, Vincent remained in good spirits and was remarkably productive, painting some of his best known works (Portrait of Doctor Gachet and The Church at Auvers, for example). The initial tranquility of the first month in Auvers was interrupted, however, when Vincent received news that his nephew was seriously ill. Theo had been going through a most difficult time throughout the previous few months: uncertainty about his own career and future, ongoing health problems and finally his own son's illness. Following the baby's recovery, Vincent decided to visit Theo and his family on 6 July and caught an early train. Very little is known about the visit, but Johanna, writing years later, would suggest that the day was strained and fairly tense. Vincent eventually felt overwhelmed and quickly returned to the more quiet sanctuary of Auvers.

During the next three weeks Vincent resumed his painting and, as his letters suggest, was reasonably happy. To his mother and sister Vincent wrote: "For the present I am feeling much calmer than last year, and really the restlessness in my head has greatly quieted down." (Letter 650) Vincent was absorbed in the fields and plains around Auvers and produced some brilliant landscapes throughout July. For Vincent life had appeared to settle into a productive and--if not happy--at least stable pattern.

Although details chronicled within the various reports conflict, the basic facts of 27 July 1890 remain clear. On that Sunday evening Vincent van Gogh set out, with his easel and painting materials, into the fields. There he took out a revolver and shot himself in the chest. Vincent managed to stagger back to the Ravoux Inn where he collapsed in bed and was then discovered by Ravoux. Dr. Mazery, the local practitioner, was called, as was Dr. Gachet. It was decided not to attempt to remove the bullet in Vincent's chest and Gachet wrote an urgent letter to Theo. Unfortunately, Dr. Gachet didn't have Theo's home address and had to write to him care of the gallery where he worked. This didn't cause a serious delay, however, and Theo arrived the next afternoon.

Vincent and Theo remained together for the last hours of Vincent's life. Theo was devoted to his brother, holding him and speaking with him in Dutch. Vincent seemed resigned to his fate and Theo later wrote: "He himself wanted to die; when I sat at his bedside and said that we would try to get him better and that we hoped that he would then be spared this kind of despair, he said 'La tristesse durera toujours' ('The sadness will last forever.') I understand what he wanted to say with those words." Theo, always his brother's greatest friend and supporter, was holding Vincent as he spoke his last words: "I wish I could pass away like this."

Vincent van Gogh died at 1:30 am. on 29 July 1890. The Catholic church of Auvers refused to allow Vincent's burial in its cemetery because Vincent had committed suicide. The nearby township of Méry, however, agreed to allow the burial and the funeral was held on 30 July. Vincent's long time friend, the painter Emile Bernard, wrote about the funeral in detail to Gustave-Albert Aurier:

The coffin was already closed. I arrived too late to see the man again who had left me four years ago so full of expectations of all kinds . . . .
On the walls of the room where his body was laid out all his last canvases were hung making a sort of halo for him and the brilliance of the genius that radiated from them made this death even more painful for us artists who were there. The coffin was covered with a simple white cloth and surrounded with masses of flowers, the sunflowers that he loved so much, yellow dahlias, yellow flowers everywhere. It was, you will remember, his favourite colour, the symbol of the light that he dreamed of being in people's hearts as well as in works of art.

Near him also on the floor in front of his coffin were his easel, his folding stool and his brushes.

Many people arrived, mainly artists, among whom I recognized Lucien Pissarro and Lauzet. I did not know the others, also some local people who had known him a little, seen him once or twice and who liked him because he was so good-hearted, so human . . . .

There we were, completely silent all of us together around this coffin that held our friend. I looked at the studies; a very beautiful and sad one based on Delacroix's La vierge et Jésus. Convicts walking in a circle surrounded by high prison walls, a canvas inspired by Doré of a terrifying ferocity and which is also symbolic of his end. Wasn't life like that for him, a high prison like this with such high walls--so high . . . and these people walking endlessly round the pit, weren't they the poor artists, the poor damned souls walking past under the whip of Destiny? . . . .

At three o'clock his body was moved, friends of his carrying it to the hearse, a number of people in the company were in tears. Theodore Van ghogh [sic] who was devoted to his brother, who had always supported him in his struggle to support himself from his art was sobbing pitifully the whole time . . . .

The sun was terribly hot outside. We climbed the hill outside Auvers talking about him, about the daring impulse he had given to art, of the great projects he was always thinking about, and about the good he had done to all of us.

We reached the cemetery, a small new cemetery strewn with new tombstones. It is on the little hill above the fields that were ripe for harvest under the wide blue sky that he would still have loved . . . perhaps.

Then he was lowered into the grave . . . .

Anyone would have started crying at that moment . . . the day was too much made for him for one not to imagine that he was still alive and enjoying it . . . .

Doctor Gachet (who is a great art lover and possesses on of the best collections of impressionist painting at the present day) wanted to say a few words of homage about Vincent and his life, but he too was weeping so much that he could only stammer a very confused farewell . . . (perhaps it was the most beautiful way of doing it).

He gave a short description of Vincent's struggles and achievements, stating how sublime his goal was and how great an admiration he felt for him (though he had only known him a short while). He was, Gachet said, an honest man and a great artist, he had only two aims, humanity and art. It was art that he prized above everything and which will make his name live.

Then we returned. Theodore Van ghog [sic] was broken with grief; everyone who attended was very moved, some going off into the open country while others went back to the station.

Laval and I returned to Ravoux's house, and we talked about him . . . .1

Theo van Gogh died six months after Vincent. He was buried in Utrecht, but in 1914 Theo's wife, Johanna, such a dedicated and tireless supporter of Vincent's works, had Theo's body reburied in the Auvers cemetery next to Vincent. Jo requested that a sprig of ivy from Dr. Gachet's garden be planted among the grave stones. That same ivy carpets Vincent and Theo's grave site to this day.
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