Trauma and Mastery in Life and Art

Creativity and Symbiosis in Vincent van Gogh

“…As Rose (1987) We can question the degree to which Vincent's late work refleaed the looming threats to his tie with Theo. Some critics have pointed to the unevenness of his work, the apparent disorganization of some of it, the distortions in perspective for example (Elgar, 1966); others point to the high level of artistic productivity he maintained to the end (Hulsker, 1990).^ Undeniably, his remarkable output in the last two months he spent in Auvers speaks to his ability to function at a relatively high level.…”

The Theme of the Double and Creativity in Vincent van Gogh

“…Not only was Vincent's intensely dependent relationship with Theo important for preserving Vincent's artistic life, it may have had important reverberations for preserving his life itself. As Rose (1987) comments, "We know from other creative individuals that they often need to form twin-like partnerships with individuals with whom they can unconsciously feel merged" (p. 114). The success of this attempt at symbiotic merger was precarious due to the inherent ambivalence of the relationship and the persistent unconscious reverberations of the link between the merger with Theo and the merger with the dead Vincent in Vincent's uncon scious.…”

“…Things finally reached a breaking VAN GOGH point, and Vincent did move out and made his way to Aries. As Rose (1987) observes: "It would seem that the overendowment of creative sensitivity requires affirmation; the capacity to make im mediate and intuitive empathie connections is able to provide such affirmation. However, the resulting intensity of the near-merger relationship, together with its homosexual implications, may be such that periodic withdrawals or ruptures become necessary to redelineate self-boundaries and shore up the sense of separate self or identity" (pp.…”

“…The model is not uncommon among creative geniuses-the relationship between Freud and Fliess comes readily to mind. As Rose (1987) comments of such creative doubles:…”

The Models of Picasso's Rose Period: The Family of Saltimbanques

“…Picasso reconstituted a new life as he moved into young adulthood. The misery expressed in the blue period paintings, refl ecting the traumata of separation, loss, and painful separateness, was behind him, as he moved in new directions ( Rose, 1996 ).…”