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Vincent: Arte E Melancolia

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Vincent: Arte E Melancolia UNIVERSIDADE VEIGA DE ALMEIDA MESTRADO PROFISSIONAL EM PSICANÁLISE, SAÚDE E SOCIEDADE SHEYLA DA CONCEIÇÃO BEZERRA VINCENT: ARTE E MELANCOLIA RIO DE JANEIRO 2019.1 1 SHEYLA DA CONCEIÇÃO BEZERRA VINCENT: ARTE E MELANCOLIA Dissertação apresentada ao Programa de Pós- graduação - Stricto Senso - Mestrado Profissional em Psicanálise, Saúde e Sociedade da Universidade Veiga de Almeida (RJ) como parte dos requisitos para obtenção do título de Mestre em Psicanálise, Saúde e Sociedade. Área de concentração: Psicanálise e Sociedade. ORIENTADOR: Prof.ª Drª VERA MARIA POLLO FLORES RIO DE JANEIRO 2019.1 2 AGRADECIMENTOS A natureza e a Deus por me proporcionarem a vida. A minha família pela educação, permitindo que eu chegasse até aqui. A Dra. Vera Pollo que orientou a elaboração da dissertação. A Dra. Sonia Borges e a Dra. Doris Rinaldi por aceitarem a compor minha banca, contribuindo com considerações e análises significativas sobre meu trabalho. Ao meu esposo pela paciência e estímulo ao meu crescimento. Ao meu incansável amigo, Afonso pelas dedicações e conversas sobre psicanálise, arte, psicologia e visão acerca do Universo. Nós dividimos nossas angústias e alegrias. Ao artista Vincent (in memoriam) que me inspirou em momentos difíceis e conturbados. 3 RESUMO Este trabalho de dissertação investiga a relação do estado emocional e psíquico de Vincent van Gogh e a produção de sua arte reconhecida como impressionista pelo próprio artista. Utilizamos como constructo teórico a psicanálise. Como método investigativo, foi feita uma correlação entre a biografia do artista e a vasta correspondência com seus familiares, amigos, médicos, em particular com seu irmão Theodorus van Gogh. Os pensadores Freud e Lacan serviram de base para uma compreensão entre arte e psicanálise. Finalmente, através do estudo entre arte e psicanálise, e das respectivas colaborações de Freud e Lacan acerca da melancolia, chegamos à conclusão de que o diagnóstico de melancolia atribuído a Vincent van Gogh não pode ser corroborado, assim como a teoria do suicídio, tornando-se uma incógnita. Palavras-chave: Vincent van Gogh. Arte. Psicanálise. Melancolia. Suicídio. 4 ABSTRACT This dissertation investigates the relationship between the emotional and psychic states of Vincent van Gogh and the production of his art, which he recognizes as being impressionist. We use psychoanalysis as the theoretical background. The correlation between the artist’s biography and a large number of letters exchanged between him and his family, friends, doctors, especially his brother Theodorus van Gogh, was used as an investigative methodology. The thinkers Freud and Lacan helped to understand art and psychoanalysis. Finally, by studying the relationship between art and psychoanalysis and the respective collaborations between Freud and Lacan regarding melancholy, we can conclude that the diagnosis attributed to Vincent Van Gogh cannot be corroborated, as well as the suicide theory, which makes it a mystery. Keywords: Vincent van Gogh. Art. Psychoanalysis. Melancholy. Suicide. 5 SUMÁRIO INTRODUÇÃO.............................................................................................................8 CAPÍTULO 1 VINCENT VAN GOGH – O PINTOR DOS GIRASSÓIS........................12 1.1 A vida e a obra.....................................................................................................13 1.2 Relacionamento de Vincent com Sien...............................................................24 1.3 Sublimação..........................................................................................................30 CAPÍTULO 2 MÃE – PRIMEIRO OBJETO DE AMOR..............................................36 2.1 Vincent e o Outro Primordial..............................................................................40 2.2 O Édipo em Freud e Lacan..................................................................................44 2.3 Imagem no espelho e autorretratos...................................................................50 CAPÍTULO 3 TRISTEZA............................................................................................58 3.1 Luto e melancolia................................................................................................59 3.2 O objeto perdido.................................................................................................65 3.3 Narcisismo e a melancolia..................................................................................68 3.4 O incidente da orelha cortada............................................................................71 3.5 Asilo para alienados em Saint-Paul-de-Mausole..............................................83 3.6 Auvers-sur-Oise – O último lar de um gênio.....................................................92 CONSIDERAÇÕES FINAIS.....................................................................................103 REFERÊNCIAS BIBLIOGRÁFICAS........................................................................107 6 APÊNDICE...............................................................................................................111 ANEXO – PRODUTO DA DISSERTAÇÃO..............................................................112 7 INTRODUÇÃO “Depois, quando a minha vida acabar, espero partir olhando para trás apenas com amor e melancolia, pensando oh, as pinturas que teria feito!” (Vincent van Gogh) A presente dissertação é fruto de um grande desejo meu em estudar sobre a vida e a obra de Vincent Willem van Gogh. Esse desejo surgiu em vários momentos, desde a visitação a museus onde suas obras estavam expostas, até a realização de um trabalho para uma disciplina durante meu período de pós-graduação em psicologia clínica na PUC/RJ. Após estudar sua biografia e conhecer sua arte, uma pergunta surgiu e deu origem à presente dissertação: o que teria influenciado Vincent van Gogh a se tornar o artista que conhecemos? A vasta obra de Van Gogh pelo mundo pode nos levar a supor que ele tinha talento para pintar desde sempre, mas não foi bem assim. Toda a obra de Van Gogh foi pintada em 10 anos. Isso porque ele decidiu se tornar artista aos 27 anos de idade. Durante boa parte de sua vida, foi autodidata. Para aprender as tonalidades e a intensidade das cores, ele utilizava uma caixa de madeira onde guardava vários novelos de lãs de diferentes cores e comparava uma cor com a outra fazendo um trabalho de cores complementares. A partir desse estudo, produzia as cores que iria usar em suas telas. Embora encontrasse companhia na arte, nosso artista se sentia solitário e relatou tal sentimento inúmeras vezes em suas cartas. Essa solidão que o acompanhou, tornando-o isolado em seu mundo de pensamentos, bem diferente daquele que o cercava. Tentava encontrar em suas pinturas algo que pudesse fazer sentido numa sociedade que ele não compreendia. Ao longo de sua vida, por vezes não respondia às demandas que lhe eram atribuídas. Além da pintura, era um amante dos livros, da vida ao ar livre, dos campos, das paisagens e tinha um belo apreço pela vida noturna. Em suas cartas, usava passagens e às vezes histórias inteiras da Bíblia; citava muitas passagens de um dos seus leitores favoritos, Jules Michelet. Boa parte das passagens 8 em que usava Michelet era para criticar a sociedade em que vivia e acabava colocando sua própria interpretação de uma sociedade que ele não entendia. Esta dissertação tem por objetivo apresentar algumas passagens da vida e da obra do artista Vincent Willem van Gogh, relacionando-as com conceitos psicanalíticos. Em particular, com os conceitos de sublimação, Édipo, narcisismo e melancolia. O método utilizado é a análise biográfica com a coleta de dados a partir das cartas que o artista escreveu. Também foi feita uma pesquisa de campo em algumas cidades onde Vincent morou. Através de sua biografia e de suas cartas, me valho da psicanálise para pensar alguns de seus conceitos. O primeiro capítulo traz um pouco sobre a vida e a obra de Van Gogh, tal como é conhecido em várias partes do mundo e admirado por pesquisadores em seus vários estudos. Na época em que viveu não foi considerado visionário ou à frente de seu tempo; pelo contrário, suas pinturas eram consideradas berrantes e mal proporcionadas, contrapondo o que era considerada a arte bem-feita. Seu modo de pintar não se adequava ao estilo da época. No quadro Os comedores de batatas, de 1885, ele fez um longo estudo, trabalhou vários pontos e sobre essa tela escreveu a Théo o pensamento “[...] temos que pintar os camponeses como se fôssemos um deles, sentindo, pensando como eles mesmos”1. Quando finalmente terminou, ele enviou uma carta, uma cópia do quadro a um crítico de um jornal local e recebeu severas críticas relacionadas ao seu estilo de pintar. O quadro foi considerado escuro demais, sem proporções anatômicas adequadas e, por fim, amador. O artista que apresento transcende a arte, transcende o jeito particular de uma sociedade que não o compreendeu nem como homem, nem como pintor. Procuro apresentar um Vincent, que vai além do Van Gogh. Se pudermos observar, suas cartas eram assinadas por ele como Vincent e alguns de seus quadros também. Isso porque ele não se considerava um Van Gogh, e sim o diferente da família; seu modo de pensar e viver era repudiado pelos pais. Pintor e amante das paletas, tornou-se conhecido por suas pinceladas espessas. Foi também apaixonado pela natureza, pela vida ao ar livre, pela simplicidade dos campos; além disso, foi um homem que decidiu viver da arte, contrapondo-se aos dogmas familiares, criando
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