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I was stationed in W. Germany '72-'75 while serving in the U.S.A.F. I visited the Van Gogh Museum in Amsterdam, http://www.vangoghmuseum.nl/vgm/index.jsp. I didn't know anything about art then and this was as good a place as any to start learning. Stun guns had not been invented yet but I sort of felt like I had been hit by one. No matter how high the print quality of Van Gogh books, calendars, posters, etc., it is impossible to effectively reproduce the broad and thick brush strokes. The other thing that struck me was that the paint looks like it is still wet. He was a true genius.

Is it possible to "hold two allegiances, ...bold invention, the bland accounting"? I think it is possible, but only by a very disciplined person.

A few examples of artists in various genres and fields that leap into mind are William Shakespeare (playwrite and theater owner), William Carlos Williams (poet and successful pediatrician and gp), Jim Croce (songwriter and truck driver), and Andy Warhol (highly valued commercial artist, fine artist, and art entrepreneur).

Then there are the millions of Americans and other artists throughout the world who persevere at their "outside" art while holding down jobs and life situations that occupy much of their attention. Their work may not be displayed today in the MoMA or mentioned in the pages of the New York Times, but some of it is regularly purchased by people with an eye for beauty at art fairs and in unsung galleries in the less trendy cities and towns, as well as being summarily swiped free (in the case of songs) on the internet.

It is true that any occupation that requires attention 24/7 (law or accounting firm, running a household with growing children, an entrepreneurial business) usually precludes the kind of time and attention needed to nurture art.

It is also true that there are many artists like Vincent Van Gogh, Franz Kafka, Hank Williams, and thousands of others who battled depression, addictions and sundry mental illnesses while they created great works which we recognize today. Most of us even know a few artists like this in our own neighborhoods or cities -- it will only be by chance society at large will recognize their creations.

One of my art teachers once emphasized to us how important family support is to a young artist. Another artist concluded (wrongly, I think, although I know where he was coming from) that it impossible to both be an artist and try to live a typical American middle class existence, with family, household, and social responsibilities.

We should be grateful that Vincent had his insightful and loyal brother Theo to turn to for support. What would it be like to live in a world without his work? Would we feel the void?