Saint-Paul Asylum in Works of Vincent Van Gogh

People with mental illness, such as Vincent Van Gogh, are usually sent to an asylum for treatment. Vincent’s unstable mental state often prompted people to avoid him. Theo, Vincent's brother, found that his friend stopped visiting due to Vincent's unpredictable behavior. Gauguin left Vincent alone after being threatened by him with a razor, at which point Vincent then cut off his own ear. This incident resulted in Vincent being admitted to a hospital. Feeling anxious and insecure, Vincent believed it would be better for others if he lived apart from society.

Consequently, he committed himself to the Saint-Paul Asylum. Both Paris and Hong Kong had their own asylums in the late 19th to 20th century, and these institutions were seen as providers of cure for those with mental illness. However, from society's perspective, an asylum was perceived as a place for those abandoned by the community, a place to hide its disgraces.

Saint-Paul Asylum

After voluntarily committing himself to Saint-Paul Asylum, Vincent began to feel hopeful about his mental situation. He wrote to his brother Theo about the sanctuary, describing how much he enjoyed the landscape of St-Rémy and his plans to visit it. He also expressed his belief that the resident doctor had a better idea of what was wrong with him and would soon allow him to paint again. He assured Theo that he was doing well in the asylum. In his early days there, Vincent was optimistic about his situation and looked forward to his recovery and exploring the landscape of St-Rémy.

'Irises' was his first painting produced in the institution. At first glance, it is a joyous painting, distinctly contrasting with the high-tension pieces he created later. The painting depicts a group of violet colored flowers with sword-like leaves. Influences of Japanese woodblocks are evident through the strong outlines that define the irises, the broad patches of flat color, and the absence of shadows. With a Dutch background, Vincent was steeped in a culture that literally embraced flowers. Seventeenth-century Dutch flower paintings, borne from a profoundly Christian Protestant culture, reminded beholders of the transience and fragility of life. Vincent absorbed this tradition subconsciously, crafting 'memento mori' with each floral work. Each flower in 'Irises' seems embedded with a distinct personality. The lone white bloom is often viewed as a symbol of Vincent, relaying his experiences and emotions within the asylum. Unlike the rest, he positioned himself away from the crowd, holding onto his hope for a cure, for a chance to bloom. The rest of the irises in the painting, in contrast, seem sad and wretched.

Whilst Vincent tried to remain optimistic, he was also aware of his potential emotional downfall. He wrote to his sister Wil about the power of colors, stating, 'We need good cheer and happiness, hope, and love. The uglier, older, meaner, iller, poorer I get, the more I wish to take my revenge by doing brilliant color, well arranged, resplendent.' In 'The Garden of the Asylum at Saint-Rémy', clear differences in color usage compared to his later work could be noticed. He tried to use more vibrant colors to counter the challenging situation he was in. However, from a letter to Theo, he admitted to fearing the possibility of his mental state deteriorating further due to the environment around him. ‘The Starry Night’, one of Van Gogh's most popular pieces, exhibits an enormous amount of tension, almost resembling an apocalyptic event with aerolites and comets flooding the night sky. Seemingly, Vincent channelled his inner turmoil into this painting, thus producing an artwork brimming with raw emotions, making it more impactful than his other works.

Despite most of Van Gogh's activities taking place around Saint-Paul Asylum, his paintings did not often include the asylum itself. Vincent's fear of the asylum had been steadily growing, and he subconsciously avoided painting this fear, wrestling with his inner conflict. In 'Garden of Saint-Paul Hospital,' Van Gogh placed the asylum on the very right side of the painting, dedicating most of the frame to the garden.

In the year Van Gogh stayed in St-Rémy, he experienced three mental collapses, each paired with severe amnesia. The latest relapse was the most protracted; Van Gogh suffered from hallucinations and was terrified by them. In addition to his inner mental conflicts, the environment of the asylum worsened his situation.

Van Gogh had two small rooms in the asylum: one was a cell with a barred window, the other was a studio. His painting, 'The Asylum Garden at Arles,' showcased a garden surrounded by the hospital's walls. The oasis in the asylum appears more comforting, despite the oppressive walls. With the bright colors Van Gogh used, the whole painting appears appealing and full of vitality. In 'Pine Trees in the Garden of Saint-Paul Hospital,' Van Gogh painted classical shutters and a traditional portico. He depicted a pleasant atmosphere with the elegant house and garden, which is relatively calm compared to his mental state. There is a sense of oppression compared to 'The Asylum Garden at Arles.' Such oppressiveness, however, did not carry over into real life. Van Gogh attempted suicide on several occasions, once by ingesting paraffin he had stolen. He had no control over his mental collapses and longed to end his suffering. Van Gogh had a fellow patient named Revello, whom he described as 'a companion in misfortune.' He spent his days waiting for his next meal, and many nights, he heard shouts and horrible howls like those of animals. After his release from the asylum, he blamed his fellow patients and staff members for his collapses, stating the asylum was crushing him. His mental state was as bad, if not worse, than before he entered the asylum. Although he did not explicitly depict this in his paintings, he was clearly suffering while in the asylum.

Hong Kong Old Mental Hospital

In the old Hong Kong Chinese society, people with mental issues were often considered a disgrace to the family. Instead of sending these family members to appropriate facilities for treatment, they were kept at home to avoid the fear of social stigma, even if they had recovered from their illness.

The Hong Kong Old Mental Hospital was established in the 1940s to provide treatment for mentally-disturbed patients. This structure, one of the oldest in Hong Kong, stands as a testament to the city's development of mental health services. Its distinctive Early-Baroque architecture, built with well-constructed local materials, is somewhat rare in Hong Kong. It features a wide arched balcony and rustic granite blocks, contrasting with the intricate cornices and ashlar mouldings. The arched corridors echo the Florentine architectural style with its rugged, granite facade. For a finishing touch, gables, spikes, decorative railings, and wrought iron were added to the hallway, creating a more elegant facade. After 20 years of abandonment, the social and historical importance of the Old Mental Hospital has been recognized. Locals consider it a famous and haunting landmark in the West End.

Relationship between Saint-Paul Asylum and Hong Kong Old Mental Hospital

In the early 20th century, there were not many cures for mental illnesses, therefore, the asylums were mainly for isolating these patients from society. This was a harsh reality due to the lack of medical skills. Patients were abandoned and left in the asylum, awaiting their so-called "cure." Essentially, they were just waiting for death. Drawing from Van Gogh's experiences, patients in asylums did not lead better lives. Instead, they suffered. Many large psychiatric hospitals functioned as shelters. As service structures evolved and the role of these hospitals diminished, the need to maintain their functions was often overlooked, in part because people believed they were, at best, protective. The role of an asylum has always been for refuge and recuperation. One significant difference between Western and Eastern societies was their willingness to hospitalize. Chinese society often preferred to hide the mentally ill from society itself.

Conclusion

Vincent Van Gogh had the worst time of his life in the asylum. It did not cure him, but instead, worsened his mental illness. In Hong Kong during the 20th century, people with mental disorders were considered a disgrace. They were abandoned by society and kept in asylums. Despite the asylums being elegantly built, it did not change the cruel fact that people suffered within them.

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