The enduring mystery of why Vincent van Gogh mutilated his own ear has captivated art enthusiasts and historians for generations. While the conventional narrative points towards self-harm stemming from mental distress, a compelling alternate theory suggests a more complex and perhaps less self-inflicted truth. This theory delves into Van Gogh’s intense, yet turbulent, relationship with fellow artist Paul Gauguin during their time together in Arles, France.
Vincent van Gogh deeply valued his friendship with Paul Gauguin. Gauguin, a dynamic and gifted artist, spent nine pivotal months alongside Van Gogh in the South of France. This period was transformative for both artists as they pushed the boundaries of art, experimenting and evolving in their styles within the vibrant atmosphere of Arles.
However, historians Hans Kaufmann and Rita Wildegans, through meticulous re-examination of witness accounts and letters exchanged between the two artists, propose a different interpretation of the infamous ear incident. Their research casts a new light on the events leading up to that fateful night.
According to Kaufmann, “We carefully re-examined witness accounts and letters written by both artists. We came to the conclusion that van Gogh was terribly upset over Gauguin’s plan to go back to Paris, after the two men had spent an unhappy stay together at the ‘Yellow House’ in Arles, Southern France, which had been set up as a studio in the South.” The historians highlight the deteriorating relationship between the two artists during their shared residency at the Yellow House. Gauguin’s announcement, just two days before Christmas, that he intended to leave Arles and return to Paris, served as the catalyst for a significant upheaval.
This news triggered a profound emotional response in Van Gogh, culminating in a heated argument between the two artists. The confrontation reportedly escalated outside a brothel, where the situation took a dramatic turn. It’s theorized that in the heat of the moment, Vincent may have initiated an attack on Paul. Gauguin, known to be a skilled fencer with proficiency in wielding a blade, may have reacted defensively.
The historians posit that during this altercation outside the brothel, Gauguin, in a defensive maneuver, might have drawn his weapon, inadvertently severing a portion of Vincent’s left ear. This theory reframes the narrative from one of self-mutilation to a possible accidental injury inflicted by Gauguin during a heated dispute.
Following the incident, a significant “pact of silence” allegedly emerged between the two artists. Historians believe that Van Gogh, deeply devoted to his friendship with Gauguin, chose to protect his friend from potential repercussions. This act of selflessness, according to this theory, explains Van Gogh’s silence and the subsequent widely accepted narrative of self-inflicted injury.
Kaufmann acknowledges the ambiguity surrounding the exact circumstances, stating, “We do not know for sure if the blow was an accident or a deliberate attempt to injure van Gogh, but it was dark and we suspect that Gauguin did not intend to hit his friend.” The historians concede that the precise nature of Gauguin’s action remains uncertain – whether it was purely accidental or a misjudged attempt to injure – the darkness of the night and the chaotic nature of the argument leave room for interpretation.
In conclusion, while the image of Van Gogh as a tormented artist driven to self-harm remains potent, the theory presented by Kaufmann and Wildegans offers a compelling alternative. It suggests that the loss of Van Gogh’s ear might not have been an act of self-mutilation, but rather a consequence of a violent argument with Gauguin, shrouded in a pact of silence to protect their complicated friendship. This perspective invites a re-evaluation of a pivotal moment in art history and the complex relationship between two iconic artists.
