- Feb 17, 2005
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The hailstorm that hit Canberra two days ago caused all lectures and classes in ANU to be canceled until Monday for storm damage repairs. So I went up to Sydney for the weekend to meet some friends there. I had many conversations, but one remained in my head. It was one I had over lunch with a friend, slightly older, who is involved in scholarship related to Expressionist art of the 20th century.
We were talking about her recent work, and I can't remember much of what she said, being a science student, but the phrase "Van Gogh's roses" made me sit up with a start. I'm no art scholar but I know that the famous flowers Van Gogh painted were -
"Sunflowers, right? Surely you mean Gogh's sunflowers, not roses?"
"I did mean 'roses'. It's a long story, and one related much more to arts than to whatever you do in science. Are you sure you want to hear it?"
"Can you summarize it?"
"I can't, but I'll try. Basically, there is a small but increasing - and mistaken, in my opinion - body of art scholars who believe that those yellow flowers Van Gogh painted were actually roses, not sunflowers."
"You're right, that summary makes no sense! I want to hear the full story."
She slowly set her cup of coffee down on the table, and I knew that this was going to be a long story.
"We've had a problematic manuscript with us for some time now. It's one of Gogh's, dating back to early 1888, which contains rough sketches identifiable as drafts for Sunflowers - or Roses, as the new scholars would have it. Gogh himself wrote some explanations in that book, among which is a contentious little note in the middle which goes ... hmm ... 'Roses; these must be roses, for I would never deign to paint a sunflower or any such common flower.' That's roughly how it goes."
"Well, I don't see why this would be a problem for art scholarship."
"Recent handwriting analyses have confirmed that this comment must indeed be Gogh's, and probably written in full lucidity at that. So the question in the art world is this: how can we resolve the difference between what Van Gogh writes about Sunflowers, and everything we know about Sunflowers itself?"
"Well, we ought to take Van Gogh at face value, shouldn't we? We ought to interpret what he says as plainly as we can."
"Really? And what would that tell you?"
"That would tell me that those yellow flowers he painted must be roses, not sunflowers."
"Well, no botanist would ever agree with you. It is patently obvious that those are sunflowers. They match in every detail to sunflowers in every stage from bloom to decay; even the little bit of stem we can see looks more like sunflower stems than rose stems."
"Fair enough. That would convince me."
"But it doesn't convince some of the scholars who study Gogh. They make a big deal about the fact that the note was written in Gogh's own hand. 'If Gogh himself said that they were roses, then any claimed, apparent, or observed evidence to the contrary must be invalid in some way or another!' What do you think of that?"
"Well, they do have a point. After all, Gogh himself stated plainly that those were roses; and since Gogh himself painted the pictures, who are we to contradict him?"
"That's just it - that word 'contradict' there. That's what the new scholars are getting wrong. I fully believe, based on all the evidence available, that those flowers are sunflowers and that it's really nonsense to pretend that they are anything else."
"But then you're contradicting Gogh."
She sighed. "Not really. Think of it this way: when I mention the word 'roses', what comes to mind?"
"Red flowers, sweet smell, thorny stems. I don't do biology, so don't ask for anything more."
"Fair enough. But see, that is a literal rose, and a literal rose simply isn't what Gogh painted. So we have to consider that maybe Gogh thought of those flowers as roses, instead of sunflowers. Think about it. What else comes to mind when you think of roses?"
"Romance? Fragrance? Elegance?"
"Well, most of us think that this was what Van Gogh meant in that comment. Van Gogh was really thinking of everything a rose embodies as he painted. We think he may have been involved in deep symbolism as he painted: these paintings probably evoked deep personal significance for him that we will never be able to understand, so much significance that a rose was the symbol of everything he wanted to convey in the Sunflowers paintings. Those were roses to Van Gogh; but no matter what they looked like through the eyes of Gogh's soul, they look exactly like sunflowers to our eyes, and we shouldn't be ashamed or surprised by that."
"Fair enough. So why is there a controversy?"
"Why don't you guess?"
"Well, I'd suppose some scholars might say that it is disrespectful to Gogh to interpret what he said figuratively. They might say that interpreting his roses as a symbolism, or figuratively, or mythically, is as good as ignoring him altogether."
"That's what they say, but they're completely missing the point! We've never ignored what Van Gogh said. In fact, we could do exactly what some people have done - dismiss that note as a plain forgery. We're not willing to do that, but we're not willing to take the easy way out of ignoring our eyes and saying that roses must be yellow with lots of seeds and smooth stems either. We grapple with both and in the process arrive at a figurative explanation of what Van Gogh said that doesn't have to discard it altogether."
"I think I agree with you, even though I know so little about art. On the one hand, some people want to discard the notebook and keep just the paintings. Some others want to discard the paintings by saying that they are something they aren't, and keep the notebook. You're trying to hold both together."
"Yes, but it isn't easy to communicate this to people. You'll hear them say 'There is no good reason to assume that Van Gogh would have written figuratively' - have they forgotten that they're talking about an artist? And yet, when I point to the pictures and tell them that the pictures themselves are good enough reason, they turn around and tell me that I see sunflowers only because I've decided beforehand that those are sunflowers, and that my interpretation of the evidence depends on my mistaken presuppositions!"
"And you're saying that they're gaining ground?"
"Yes. They may be wrong, but they're convincing. I guess people just forget that the Gogh who wrote this notebook must have been the same Gogh who painted those paintings, and that he knew exactly what he was doing in both those endeavors. It is only when we hold Gogh's words and Gogh's works in mutual understanding that we can fully unravel the meaning of Van Gogh's Sunflowers, and not a moment before."
============
But let us again consider the degree to which necessary demonstrations and sense experiences ought to be respected in physical conclusions, and the authority they have enjoyed at the hands of holy and learned theologians. From among a hundred attestations I have selected the following:
Galileo Galilei, 1615
We were talking about her recent work, and I can't remember much of what she said, being a science student, but the phrase "Van Gogh's roses" made me sit up with a start. I'm no art scholar but I know that the famous flowers Van Gogh painted were -
"Sunflowers, right? Surely you mean Gogh's sunflowers, not roses?"
"I did mean 'roses'. It's a long story, and one related much more to arts than to whatever you do in science. Are you sure you want to hear it?"
"Can you summarize it?"
"I can't, but I'll try. Basically, there is a small but increasing - and mistaken, in my opinion - body of art scholars who believe that those yellow flowers Van Gogh painted were actually roses, not sunflowers."
"You're right, that summary makes no sense! I want to hear the full story."
She slowly set her cup of coffee down on the table, and I knew that this was going to be a long story.
"We've had a problematic manuscript with us for some time now. It's one of Gogh's, dating back to early 1888, which contains rough sketches identifiable as drafts for Sunflowers - or Roses, as the new scholars would have it. Gogh himself wrote some explanations in that book, among which is a contentious little note in the middle which goes ... hmm ... 'Roses; these must be roses, for I would never deign to paint a sunflower or any such common flower.' That's roughly how it goes."
"Well, I don't see why this would be a problem for art scholarship."
"Recent handwriting analyses have confirmed that this comment must indeed be Gogh's, and probably written in full lucidity at that. So the question in the art world is this: how can we resolve the difference between what Van Gogh writes about Sunflowers, and everything we know about Sunflowers itself?"
"Well, we ought to take Van Gogh at face value, shouldn't we? We ought to interpret what he says as plainly as we can."
"Really? And what would that tell you?"
"That would tell me that those yellow flowers he painted must be roses, not sunflowers."
"Well, no botanist would ever agree with you. It is patently obvious that those are sunflowers. They match in every detail to sunflowers in every stage from bloom to decay; even the little bit of stem we can see looks more like sunflower stems than rose stems."
"Fair enough. That would convince me."
"But it doesn't convince some of the scholars who study Gogh. They make a big deal about the fact that the note was written in Gogh's own hand. 'If Gogh himself said that they were roses, then any claimed, apparent, or observed evidence to the contrary must be invalid in some way or another!' What do you think of that?"
"Well, they do have a point. After all, Gogh himself stated plainly that those were roses; and since Gogh himself painted the pictures, who are we to contradict him?"
"That's just it - that word 'contradict' there. That's what the new scholars are getting wrong. I fully believe, based on all the evidence available, that those flowers are sunflowers and that it's really nonsense to pretend that they are anything else."
"But then you're contradicting Gogh."
She sighed. "Not really. Think of it this way: when I mention the word 'roses', what comes to mind?"
"Red flowers, sweet smell, thorny stems. I don't do biology, so don't ask for anything more."
"Fair enough. But see, that is a literal rose, and a literal rose simply isn't what Gogh painted. So we have to consider that maybe Gogh thought of those flowers as roses, instead of sunflowers. Think about it. What else comes to mind when you think of roses?"
"Romance? Fragrance? Elegance?"
"Well, most of us think that this was what Van Gogh meant in that comment. Van Gogh was really thinking of everything a rose embodies as he painted. We think he may have been involved in deep symbolism as he painted: these paintings probably evoked deep personal significance for him that we will never be able to understand, so much significance that a rose was the symbol of everything he wanted to convey in the Sunflowers paintings. Those were roses to Van Gogh; but no matter what they looked like through the eyes of Gogh's soul, they look exactly like sunflowers to our eyes, and we shouldn't be ashamed or surprised by that."
"Fair enough. So why is there a controversy?"
"Why don't you guess?"
"Well, I'd suppose some scholars might say that it is disrespectful to Gogh to interpret what he said figuratively. They might say that interpreting his roses as a symbolism, or figuratively, or mythically, is as good as ignoring him altogether."
"That's what they say, but they're completely missing the point! We've never ignored what Van Gogh said. In fact, we could do exactly what some people have done - dismiss that note as a plain forgery. We're not willing to do that, but we're not willing to take the easy way out of ignoring our eyes and saying that roses must be yellow with lots of seeds and smooth stems either. We grapple with both and in the process arrive at a figurative explanation of what Van Gogh said that doesn't have to discard it altogether."
"I think I agree with you, even though I know so little about art. On the one hand, some people want to discard the notebook and keep just the paintings. Some others want to discard the paintings by saying that they are something they aren't, and keep the notebook. You're trying to hold both together."
"Yes, but it isn't easy to communicate this to people. You'll hear them say 'There is no good reason to assume that Van Gogh would have written figuratively' - have they forgotten that they're talking about an artist? And yet, when I point to the pictures and tell them that the pictures themselves are good enough reason, they turn around and tell me that I see sunflowers only because I've decided beforehand that those are sunflowers, and that my interpretation of the evidence depends on my mistaken presuppositions!"
"And you're saying that they're gaining ground?"
"Yes. They may be wrong, but they're convincing. I guess people just forget that the Gogh who wrote this notebook must have been the same Gogh who painted those paintings, and that he knew exactly what he was doing in both those endeavors. It is only when we hold Gogh's words and Gogh's works in mutual understanding that we can fully unravel the meaning of Van Gogh's Sunflowers, and not a moment before."
============
But let us again consider the degree to which necessary demonstrations and sense experiences ought to be respected in physical conclusions, and the authority they have enjoyed at the hands of holy and learned theologians. From among a hundred attestations I have selected the following:
"We must also take heed, in handling the doctrine of Moses. that we altogether avoid saying positively and confidently anything which contradicts manifest experiences and the reasoning of philosophy or the other sciences. For since every truth is in agreement with all other truth, the truth of Holy Writ cannot be contrary to the solid reasons and experiences of human knowledge."
And in St. Augustine we read:
"If' anyone shall set the authority of Holy Writ against clear and manifest reason, he who does this knows not what he has undertaken; for he opposes to the truth not the meaning of the Bible, which is beyond his comprehension, but rather his own interpretation, not what is in the Bible, but what he has found in himself and imagines to be there."
This granted, and it being true that two truths cannot contradict one another, it is the function of expositors to seek out the true senses of scriptural texts. These will unquestionably accord with the physical conclusions which manifest sense and necessary demonstrations have previously made certain to us.
Galileo Galilei, 1615