‘When you see a Gauguin,’ writes Adam Gopnik in The New Yorker, ‘you think, This man is living in a dream world. When you see a van Gogh, you think, This dream world is living in a man.’

Artists are supposed to be our designated crazies.

‘We gawk and stare as the painters slice off their ears and down the booze and act like clowns. But we rely on them to make up for our own timidity, on their courage to dignify our caution. We are spectators in the casino, placing bets... and we can sometimes convince ourselves that having looked is the same as having made, and that the stakes are the same for the ironic spectator and the would-be saint. But they’re not. We all make our wagers, and the cumulative lottery builds museums and lecture halls and revisionist biographies. But the artist does more. He bets his life.’
Adam Gopnik, Van Gogh’s Ear, The Christmas Eve that changed modern art

Gopnik points out that our judgement of mad artists parallels their success, or failure, in creating great art.

‘‘Gauguin’s is a prime real-life case where doing the wrong thing - abandoning your wife and children and betraying your friends - appears to be morally justifiable, since the art made was, as it happened, great... His decision to abandon his family for art looks heroic, in retrospect, because luck was a lady - a muse - who blew on his dice.’

Van Gogh was awkward around people, his manic depression untreated, his oddness off putting. Estrangement, merged with his desire for authentic community, infused his paintings. ‘His inability to join the living doesn’t erode his delight in life,’ writes Gopnik.

Perhaps the ultimate act of insanity, for any artist, is persevering without the slightest assurance that anyone else will ever value the work.

‘The letters of van Gogh’s last year mark his acceptance of his isolation, coupled with the belief that the isolation need not be absolute - that, one day, there will be a community of readers and viewers who will understand him, and that his mistake had been to try and materialize that community in the moment instead of accepting it as the possible gift of another world and time.’
Adam Gopnik, Van Gogh’s Ear, The Christmas Eve that changed modern art

A 21st century bard, Pere Ubu’s David Thomas, echoes this in a recent Plain Dealer interview.

‘I'm too old to pay attention to much anymore, other than just getting the work done that I've got to get done. Whether anybody hears it or not, that's not my problem. There's no point in worrying about it.’

A fan club spanning time and space so vast that never may the artist know of its existence. Just another instance of an artist out of touch with reality? In face of public indifference, ‘saner’ artists put down their instruments, forfeiting their chances to endure.

Painting by Vincent van Gogh, Vincent Willem van Gogh