The following is an excerpt from my 2018 book Blessed Twilight: The Life of Vincent van Gogh; however, the words are his from a letter he wrote to his brother Theo in 1888. Often, an artist who excels in one genre does so in others as well; Vincent was no exception. I believe his writing to be as artful as his paintings.

Vincent van Gogh: March 30, 1853-July 29, 1890

From a letter to Theo:

It certainly is a strange phenomenon that all of the artists, poets, musicians, writers, and painters are unfortunate in material things—the happy ones as well. Maupassant is a fresh example of that. It brings the eternal question: Is the whole of life visible to us or isn’t it rather that on this side of death we see one hemisphere only? Painters, taking them only, dead and buried, speak to the next generation and very often several after in their work. Is that all or is there more besides? In a painter’s life, death perhaps is not the hardest thing there is. 

The earth has been thought to be flat. It was true, and is today, that between Paris and Arles, it is. But science has proven the world is round and nobody contradicts that nowadays. But notwithstanding all of this people persist in believing that life is flat and runs from birth to death. However, life too is probably round and very superior in expanse and capacity to the hemisphere we know at present. For my part, I know nothing of it. But to look at the stars always makes me dream as simply as I dream over the black dots of a map representing towns and villages. Why, I ask myself, should the shining dots of the sky not be as accessible as the black dots on a map of France? If we take a train to get to Rouen, we take death to reach a star. One thing undoubtably true in this reasoning is this: that while we are alive, we cannot get to a star any more than while we are dead we can take the train. So it seems to me possible that cholera and cancer are the celestial means of locomotion just as steamboats and railways are the terrestrial means.

To die quietly of old age would be to go there on foot. 

I feel more and more that we must not judge God on the basis of this world; it is a study that didn’t come off. What can you do in a study that has gone wrong if you are fond of the artist? You do not find much to criticize; you hold your tongue. But you have a right to ask for something better. It is only a master that can make such a muddle as this, since then we have a right to hope that we’ll see the same creative hand get even with itself. And this life of ours, so much criticized and for such good and exalted reasons—we must not take it for anything more than what it is and go on hoping that in some other life we’ll see a better thing than this.