Book AK
The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Provence
Discussion Guide Questions
1. Did you like the format of this book and/or the author Martin Gayford’s style of relating
the events during this year of the artists’ lives?
2. Based on what you read of Van Gogh, what were the underlying reasons he did not want
to live alone in the house at Arles?
3. Van Gogh and Gauguin exchanged self-portraits of themselves before actually living
together. Why do you think the self-portrait exchange was so important for the two artists?
Based on what you read, did the way the artists chose to depict themselves surprise you?
4. In the beginning of the book, the author writes in detail about the physical differences
between Van Gogh and Gauguin. What are the other key differences between these two
artists? In addition to their chosen profession, in what other ways were the artists similar?
5. In describing Van Gogh and Gauguin, the author wrote that the artists’ ―minds ran on
similar but slightly divergent lines.‖ In referencing Gauguin, he wrote that he ―had a
capacity to take up the other’s ideas, almost unconsciously, as his own‖ (p. 37). Do you
agree with these assessments? If so, what instances are put forth in the book that support
these statements?
6. The author, in describing the artists asserted that ―there was indeed a heroic aspect to
Gauguin’s determination, his willingness to sacrifice everything for a new kind of painting;
the same was of course true of Vincent‖ (p. 61). Do you agree with this statement?
7. What are the key differences and similarities between Van Gogh’s and Gauguin’s work?
8. In what ways, if any, do you think that the artists’ time together in Arles helped to
strengthen their own individual work? Do you think their time together was detrimental to
their work in any way?
9. Would you call the time the artists spent together in Arles collaborative? What other
words would you use to describe their time together and their relationship during that time?
10. Time is spent discussing the importance of books in Van Gogh’s life. Where do you think
this love of books came from? Did his belief in the saving power of books surprise you?
11. On the topic of artist cohabitation, the author writes, ―But when two people are cooped
up together day and night, small discrepancies of temperament become points of friction‖
(p. 149–50). Do you think this was at the heart of what was wrong between Van Gogh and
Gauguin or do you think there was more involved? If so, what do you believe was at the
heart of their falling apart as roommates?
12. To what degree did jealously play a role in Van Gogh’s and Gauguin’s lack of ability to
live and work together?
13. Why do you think the house at Arles was so important to Van Gogh? Was the house a
metaphor, and if so, for what?
14. Do you think the tension in the Yellow House would have been lessened if Van Gogh had
started to become successful in the sale of his paintings instead of or in addition to
Gauguin?
15. How do you think Van Gogh’s life would have been different if he had married Sien
Hoornik? Do you think he still would have had the later success he did as an artist?
16. To what degree did Van Gogh and Gauguin live out their lives and/or document their
lives in their work? In what ways did they do this?
17. Unlike the typical artist-inspired portrait, Van Gogh strove to create portraits that
captured ―the thought, the soul of the model‖ (p. 228). Why do you think portraits held
such an appeal for Van Gogh? Do you think his relationships with people encouraged this
interest? Do you think Van Gogh was successful in the creation of his portraits?
18. Why do you think Gauguin stayed as long as he did at Arles in the Yellow House with
Van Gogh?
19. Do you think Gauguin should have done more after the incident in which Van Gogh cut
off his ear and was hospitalized? Should he have stayed in Arles, or visited him in the
hospital? Was it wrong for him to have never written to or seen Van Gogh again after that
incident?
20. Religion and religious thoughts were often linked to Van Gogh’s periods of madness.
Why do you think he turned to religion at these times of crisis?
21. The author details how after Van Gogh’s death, Gauguin wrote stories about him. These
stories were often completely false. Based on what you read about Gauguin and his time
spent with Van Gogh, what do you think were his motivations for writing these stories? Do
you think he was making fun of Van Gogh or being deliberately cruel?
22. To what degree do you think Gauguin exaggerated the details of his time with Van Gogh
after Van Gogh’s death? What would have been his motivations for the exaggerations?
23. To what degree, if any, do you believe Gauguin capitalized on Van Gogh’s illness and/or
erratic behavior?
24. The author references that by the end of both their lives Van Gogh and Gauguin were
more myths of the art world than anything else, with Van Gogh seen as a madman and
Gauguin as the lone artist separated from civilization in the tropics (p. 307–08). Do you
think this assessment is fair? What part, if any, does the myth of these artists play in their
success today?
25. At the conclusion of the book, the author makes the case that Van Gogh most likely
suffered from bipolar disorder. He goes on to argue that had this been diagnosed and Van
Gogh put on proper medicine to treat the disorder, ―he would have retained remarkable
skills of hand and eye, but he would have been a different—and probably a duller—artist‖
(p. 312). Do you agree with this statement? Is it a fair statement to make?