Cliff Edwards, a well-known Vincent Van Gogh author and scholar, explores Van Gogh's second gift--the surprising written works of Van Gogh in letters to his brother, fellow artists, and friends. Edwards illuminates Van Gogh's vision and creative process for readers as a way of living and creating more deeply. Van Gogh's Second Gift gives us another side of Van Gogh, whose poetic, creative, and original mind opened up startling insights on the creative process. A perfect book for creatives and those who want to understand more about one of the world's most beloved artists, the genius creator of works like Starry Night. Focusing on more than 40 letter excerpts, Edwards offers clear background and insights into Van Gogh's life and creative ideas, as well as suggestions for reflection and personal engagement. Van Gogh sketches are scattered throughout the book.

Explore the depth of this brilliant and tortured artist's spirituality and find a new Van Gogh--philosopher of life, unorthodox theologian, and determined seeker of global spirituality.

One of the most significant and revealing paintings by the world famous artist Vincent van Gogh was never seen by anyone but the artist himself. The painting was so important to the artist that he painted it twice. He was so conflicted about the painting that he destroyed it twice. Cliff Edwards argues these two unique paintings Vincent created and destroyed are at least as important to understanding the artist and his work as are the two thousand or more paintings and drawings that do exist. In Van Gogh's Ghost Paintings, Edwards invites his readers on a journey that begins in a Zen master's room in Japan and ends at a favorite site of the artist, a ruined monastery and its garden in the south of France. Recovering the intent of van Gogh and the nature of his "ghost paintings" becomes a "zen koan" waiting to be solved. The solution offers access to the deepest levels of the artist's life as painter and spiritual pilgrim. The journey leads to the artist's choice of the biblical theme of the Garden of Gethsemane. The answer to the mystery of the lost paintings illuminates the relationship of joy and suffering, discovery and creation, religion and the arts in van Gogh's life and work. In this fascinating book Edwards solves a long-ignored mystery that provides a critical key to the relation of van Gogh's religion and art.

Invites young readers to touch Impressionist and other nineteenth-century paintings, including Van Gogh's "Starry Night," Degas' "L'Etoile," and Morisot's "The Cradle." On board pages.

Including unpublished material recorded from Henri Nouwen's lectures, this book comes at the request of the Henri Nouwen's literary estate from someone who knew him as a teacher and friend. Carol Berry brings her own experience in both ministry and art education to bear as she unpacks the much misunderstood spiritual context of Vincent van Gogh's work, and reinterprets van Gogh's art in light of Nouwen's lectures.

Creative people will experience depression — that’s a given. It’s a given because they are regularly confronted by doubts about the meaningfulness of their efforts. Theirs is a kind of depression that does not respond to pharmaceutical treatment. What’s required is healing in the realm of meaning.In this groundbreaking book, Eric Maisel teaches creative people how to handle these recurrent crises of meaning and how to successfully manage the anxieties of the creative process. Using examples both from the lives of famous creators such as van Gogh and from his own creativity coaching practice, Maisel explains that despite their inevitable difficulties, creative people possess the ability to forge relationships, repair themselves, and find meaning in their work and their lives. Maisel presents a step-by-step plan to help creative people handle their special brand of depression and rediscover the reasons they are driven to create in the first place.

The best-known and most sensational event in Vincent van Gogh’s life is also the least understood. For more than a century, biographers and historians seeking definitive facts about what happened on a December night in Arles have unearthed more questions than answers. Why would an artist at the height of his powers commit such a brutal act? Who was the mysterious “Rachel” to whom he presented his macabre gift? Did he use a razor or a knife? Was it just a segment—or did Van Gogh really lop off his entire ear? In Van Gogh’s Ear, Bernadette Murphy reveals, for the first time, the true story of this long-misunderstood incident, sweeping away decades of myth and giving us a glimpse of a troubled but brilliant artist at his breaking point. Murphy’s detective work takes her from Europe to the United States and back, from the holdings of major museums to the moldering contents of forgotten archives. She braids together her own thrilling journey of discovery with a narrative of Van Gogh’s life in Arles, the sleepy Provençal town where he created his finest work, and vividly reconstructs the world in which he moved—the madams and prostitutes, café patrons and police inspectors, shepherds and bohemian artists. We encounter Van Gogh’s brother and benefactor Theo, his guest and fellow painter Paul Gauguin, and many local subjects of Van Gogh’s paintings, some of whom Murphy identifies for the first time. Strikingly, Murphy uncovers previously unknown information about “Rachel”—and uses it to propose a bold new hypothesis about what was occurring in Van Gogh’s heart and mind as he made a mysterious delivery to her doorstep. As it reopens one of art history’s most famous cold cases, Van Gogh’s Ear becomes a fascinating work of detection. It is also a study of a painter creating his most iconic and revolutionary work, pushing himself ever closer to greatness even as he edged toward madness—and one fateful sweep of the blade that would resonate through the ages.

In the last seventy days of his life, Vincent van Gogh experienced an unprecedented burst of creativity. He painted at least one canvas per day, often more, and wrote dozens of eloquent, personal letters to family, fellow artists, and friends. For the first time, this volume gathers all that he produced during these last few months and presents it in a day-by-day chronology that reveals his intense focus on the continuing development of his signature artistic method as well as his innermost thoughts and concerns. Persuaded by his doting brother, Theo, to move to the artistic enclave of Auvers-sur-Oise in 1890 for a change of scenery and a chance at a life free from temptation, and with the intent of concentrating solely on painting and restoring his full mental health, van Gogh arrived in May just as the town and its nearby bucolic fields were bursting into full springtime glory, providing him ample material for inspiration. Stunning reproductions of his last paintings display his daily explorations of this charming hamlet’s streets and buildings, including its now-iconic church and thatched cottages, its inhabitants—including his friend and mentor Doctor Gachet, immortalized on canvas—and the wide, open fields that roused him to paint masterpieces such as Wheat Field with Crows and Landscape with a Carriage and a Train. Despite these idyllic surroundings, his encouraging pace of production, and mounting critical recognition, van Gogh chose to end his own life a mere two and a half months later, leaving the letters and paintings duplicated here as the only clues to the internal anguish that led him to an act of such desperation. The full complexity of van Gogh’s personality, emotions, and relationships is presented here through reproductions of historical documents, letters, and glorious full-color plates of over seventy paintings, each of which is also accompanied by incisive commentary from author Wouter van der Veen, a renowned van Gogh scholar. A final chapter fully explores the often overlooked role played by his sister-in-law, Johanna Bonger, in cultivating and establishing his posthumous legacy.

An address book in which each alphabetical divider-page opens with a detail from a Van Gogh painting and is followed overleaf by an image of the complete work and a quotation from one of the artist's letters. The spiral binding enables the book to be laid open at any page.