Was Vincent van Gogh of a Homosexual Orientation?

Vincent van Gogh and Paul Gauguin are widely recognized as two of the 20th century's most innovative artists; each, in their distinct fashion, propelled their artistic creations into audacious and uncharted domains, producing works characterized by an uninhibited and fervent expressionism previously unseen throughout art history. The duo established a camaraderie considered among art history's most improbable and turbulent connections, a bond that has since garnered significant attention as a favored topic within both written works and cinematic productions. Even with the myriad obstacles and hardships they faced during their volatile interactions, a resilient and enduring friendship was maintained between them, persisting right up until Van Gogh's premature passing in the year 1890. In the following discussion, we will trace the trajectory of their distinctive relationship, observing its development across various periods.

The Genesis of Their Friendship Occurred in Paris

A meeting between Van Gogh and Gauguin transpired in Paris, as each artist regularly frequented the city's lively and spirited artistic enclaves. Swiftly establishing a robust connection, the two artists discerned commonalities in their aspirations to transcend the Impressionist movement, leaning instead towards an artistic idiom that permitted greater latitude for individual expression and allowed for the inherent symbolic qualities of hue. Each held a profound eagerness to depart from conventional artistic practices, alongside an ardent wish to pioneer an entirely novel trajectory for the future of art. Within each other, they identified a kindred artistic spirit, and during their nascent period of association, they created a fostering environment for the exchange of their most intrepid and innovative concepts.

The existence of their deep bond is substantiated by the lengthy, scholarly correspondence they exchanged, through which they explored their most intimate artistic yearnings, as well as delving into the formal aspects of technique, theories of color, and principles of composition. Most strikingly, these written communications reveal the profound encouragement each artist extended to the other throughout their varied artistic pursuits, imbuing them with the necessary resolve to persevere despite experiencing difficulties or encountering disapproval. 

Shared Residence within ‘The Yellow House'

Commencing in May of 1888, Van Gogh secured a lease on four chambers at a residence located on Arles' Place Lamartine, a property that would eventually be referred to as ‘The Yellow House'. Gauguin was extended an invitation to reside with him, resulting in the two men cohabiting for a period exceeding two months, during which they engaged in close artistic collaboration. Absinthe was consumed by them, and deep conversations regarding artistic concepts frequently extended late into the evening. Nevertheless, even with their robust comradeship, latent tensions began to surface within their friendship during this period characterized by such close proximity. Disagreements frequently arose between the two, often concerning their differing artistic philosophies, particularly as their individual creative paths began to diverge, leading to numerous heated discussions. Additionally, Van Gogh was prone to seeking reliance upon Gauguin, both for monetary aid and for assistance with mundane daily domestic responsibilities. At the same time, their views on the placid town of Arles were evidently divergent - Van Gogh envisioned transforming this calm, rustic locale into a vibrant artistic commune, ideally with Gauguin's participation; however, Gauguin was swift to disparage Arles, labeling it 'the dirtiest hole in the South.'

The Celebrated Ear Incident

Lamentably, it was amidst one of their most brutal confrontations that Van Gogh proceeded to mutilate himself by severing the inferior section of his own ear. Although the precise particulars of their dispute remain shrouded in mystery, it is surmised that their exchange on that fateful night grew exceptionally fervent, compelling the already mentally precarious Van Gogh towards a premeditated act of self-inflicted injury. In the aftermath of this troubling occurrence, Gauguin promptly made his exit from Arles, relocating back to the French capital. Though they continued to correspond, the two men were never again to encounter each other face-to-face. From that point forward, the already tormented Van Gogh continued a descent into deeper despair, a path that ultimately led to his self-inflicted death in 1890. Meanwhile, Gauguin relocated to Tahiti, choosing to flee the urban clamor in favor of a more unrefined and unspoiled lifestyle.

Sustained Correspondence

In spite of their disastrous separation, existing evidence indicates that the two artists maintained a correspondence right up until Van Gogh's demise. This particular fact underscores that, notwithstanding their often turbulent dynamic, the duo nonetheless retained a mutual high esteem for one another. Theo, Van Gogh's brother, having previously served as Gauguin's art dealer, continued his professional relationship with the artist, thereby ensuring the preservation of a familial tie. For the remainder of his days, Gauguin, for his part, pondered their motivational, though problematic, shared experience in Arles. An entry in his personal journal recorded his sentiment: 'Unknown to the wider populace, two individuals, during that time, achieved a monumental body of work, which proved advantageous to both of them. Could it have been beneficial to others too? Indeed, some efforts bear fruit.'