Art is undoubtedly the product of the deepest chambers of the human soul. Psychological states, aesthetic perception, ways of seeing the world, and forms of depiction are all interconnected, maintaining a delicate balance. In this context, human nature inherently possesses the instinct to self-actualize and create something new. Therefore, many artists express themselves through their artwork, perhaps in an attempt to search for and discover their true selves.
In certain cases, artistic productivity is closely linked to the artist’s emotional states. One of the most profound examples of this is Vincent Willem van Gogh. The letters he wrote to his brother Theo, which today illuminate many aspects of Van Gogh’s life, provide us with essential insights.
When analyzing the psychological dimensions of Van Gogh’s paintings, it becomes apparent that they often symbolize the “shadow” aspects of the self — the parts that are suppressed, denied, or difficult to accept. These shadow elements are visibly prominent in many of his works. For example, the dark and gloomy tones in Wheatfield with Crows, along with the crows flying toward the darkness, reflect the recesses of Van Gogh’s psyche and reveal aspects of himself he had suppressed. This work can be interpreted as a manifestation of his fear of death or the inner and outer threats of a life nearing its end. According to Carl Gustav Jung, confronting one’s shadow — that is, recognizing the repressed self — is an essential step toward individuation. This confrontation is one of the compelling aspects of Van Gogh’s art. As he searched for himself on the canvas, he also inspired others by touching upon their own shadows. Through his art, Van Gogh directly faced his inner darkness. Rather than repressing it, he brought it to the canvas — transforming it into crows, barren roads, and celestial bodies. In one of his letters to Theo, Van Gogh wrote:
“If something within me is broken, it can be rebuilt on the canvas.”
Van Gogh’s use of color can be interpreted not solely through the lens of individual psychopathology but also within the archetypal framework of the collective unconscious. In his works, the color blue is often associated with the celestial, while yellow is linked to a divine search. In this regard, Van Gogh’s art aligns with Jungian psychology, acting as a vessel for archetypal images and universal symbols. The colors he used express not only emotional responses but also cultural and historical layers. The sunflower, for example, is not just a flower Van Gogh loved — it represents the sun and symbolizes life energy. The symbolic images in his paintings can be seen as manifestations of the shadow aspects rooted in the unconscious.
In his earlier works, the dominant use of blue and its contrasts are clearly visible, especially in portraits and detailed human figures. His preference for dominant colors such as blue and yellow reflects his emotional fluctuations. In English, the color blue is often associated with sadness and depression — expressed in the idiom “feeling blue.” This association is strongly evident in The Starry Night, where blue dominates the composition and may be interpreted as representing a depressive episode within Van Gogh’s manic-depressive cycles. From a Freudian perspective of mourning and melancholia, Van Gogh’s art can be seen as a mourning process for lost meaning and identity. His use of blue in nocturnal works is also significant. In one of his letters, Van Gogh wrote:
“I often think that the night is more alive and more richly colored than the day. There is a deeper blue in the darkness, one that penetrates me like sorrow.”
Encouraged by his brother Theo, Van Gogh began using brighter and more contrasting colors, especially yellow, in his later works. During manic episodes, which are characteristic of bipolar disorder, he became more artistically productive and gravitated toward bright and vibrant hues such as yellow. While yellow appears energetic, radiant, and full of life, it also visually reflects the manic phase. In his Sunflowers series, the vibrant yellow often conveys a sense of uncontrolled intensity and mental overflow. These works correspond to the creative manic phases commonly discussed in art and psychology literature. In one of his letters, he associates yellow with an existential search:
“Yellow makes me think of God.”
For Van Gogh, art often served as a refuge and support mechanism in his struggle to maintain his mental health. He wrote:
“It is a continual source of disappointment to me that my drawings are not yet what I want them to be. The difficulties are indeed numerous and great, and cannot be overcome at once. Developing oneself is like the work of a miner; it does not progress at the pace one hopes or expects. But when faced with such a task, the essential requirements are patience and devotion. In fact, I don’t think much about the difficulties — if one dwells on them too much, one either gets dizzy or distressed.”
Van Gogh thus became one of the most powerful figures to experience and reflect the healing power of art. Upon learning from Theo that he would become an uncle, and that the child would be named “Vincent,” he painted Almond Blossom — symbolizing the blossoming of hope.
On the other hand, Van Gogh’s understanding of art also provides a profound reflection on social issues. Beyond the psychological and emotional expressions evident in his works, he depicted themes of social class and hardship. One prominent example is The Potato Eaters, which offers a critical perspective on the poverty and social hierarchy of his time — a theme he also addressed in his letters:
“One must act with confidence, with the assurance that what one is doing is reasonable — like a peasant plowing the land or a friend raking the field. If one does not have a horse, one must become one’s own horse.”
Vincent Willem van Gogh devoted only ten of his 37 years to painting. Yet, today we continue to see Van Gogh in his paintings — to understand his thoughts and emotions. Through the expression of existential suffering and unconscious content, he strove to confront his shadow self and uncover deeper meaning. His timeless works continue to serve as a light for others in their journeys of self-discovery.
REFERENCES
Beaujean, D. (2005). Van Gogh (Art Classics Series). Literatur Verlag.
Freud, S. (1995). On Art and Artists. Yapı Kredi Publications.
Yıldırım, C. (2015). Color Symbolism in Painting and Van Gogh. Kocaeli University.
Van Gogh, V. (1996). Letters to Theo (P. Kür, Trans.). Yapı Kredi Publications.