The Balance of Life in Van Gogh and Monet
When I visited the Van Gogh Museum in Amsterdam last spring, I was deeply moved. I’ve always loved Van Gogh’s paintings and was familiar with the heartbreaking story of his life, but being there, surrounded not only by his works but also by the profound respect and love that filled the space, truly touched my heart.
The common perception that he was "lonely and unhappy all his life" was shattered for me. And even if that were true, I felt a deep connection to the love that lay at the core of it all. The sheer power of his art and the warmth of his family’s devotion enveloped me. In that museum, I could sense Van Gogh’s joy in having his dreams realized.
Amsterdam itself was a beautiful city, and I had some wonderful encounters there. That sense of happiness stayed with me for a long time.
A few months later, I visited a magnificent Monet exhibition at a museum in Ueno, Tokyo, with my mother and husband. The collection featured around 50 pieces from the Musée Marmottan Monet in Paris, along with additional works from the National Museum of Western Art and various other collections in Japan, totaling 64 of Monet’s paintings. The sheer impact of seeing so many of his works in one place was overwhelming.
That day, my mother was in good spirits. Even in the bustling museum, she remained energetic, and later, as we sat for tea, she was still immersed in the lingering emotions of the experience. More than Monet’s paintings themselves, it was witnessing my mother’s joy that brought me the greatest happiness. For that, I am grateful to Monet.
With our upcoming summer trip to France, my husband and I have been talking about visiting Monet’s former home in Giverny, just outside Paris, to see the water lily pond he so deeply loved.
Monet purchased the house in 1890 and spent years cultivating his garden, creating the perfect setting for his Water Lilies series. Meanwhile, around the same time, not too far from Giverny, Van Gogh was said to have taken his own life in a wheat field (though some theories suggest otherwise). Today, that village is a well-known site for tracing Van Gogh’s final footsteps, and I can’t help but feel drawn to visit both places.
I may have strayed a bit, but as Van Gogh and Monet’s names kept swirling in my mind, I stumbled upon something that felt like a mysterious sign.
I came across a passage describing how their paintings—particularly Monet’s Impression, Sunrise and Van Gogh’s Self-Portrait (Saint-Rémy period)—reflect a state of finely honed balance within their own lives.
These works contain a central core of energy, where the entire force of the composition is concentrated, yet from that very center, energy radiates outward infinitely. This is why we experience a profound emotional impact that goes beyond mere technique.
Van Gogh has been called a "painter of mindfulness," while Monet’s works are often regarded as objects of meditation. But the idea that their paintings refine and illuminate the balance of life itself was something I had never considered before. It was a revelation that struck me like an electric current.
I learned this from the Wikipedia page of Ichien Hagan, who was himself an artist.
The essence of art lies in restraining form through the balance of life, and true art can be defined as a work in which such a form is realized.
Art is an expression of human spirituality.
Unless one understands their own balance of life, it is impossible to restrain form. Conversely, if one refines this balance, then true art can be created by anyone, regardless of talent.
The defining characteristic of works that achieve this is the presence of a central core of energy within the composition. The entire force of the piece is condensed into this core, from which energy then radiates outward infinitely in a continuous cycle of expansion and contraction.
Monet’s Impression, Sunrise and Van Gogh’s Self-Portrait (Saint-Rémy period) are prime examples of this principle in action. source
Under the philosophical belief that art is an expression of human spirituality, Ichien Hagan dedicated himself to painting and calligraphy. Later, he continued to question the world about human spirituality through his calligraphy.
“Spirituality is an essential sensibility inherently present in human beings. By becoming aware of it and using it, one can infinitely enrich and deepen it. In Buddhism, this ‘spirituality’ is referred to as ‘Buddha-nature.’ It would be a wasted treasure if humankind, as the pinnacle of all living beings, remained unaware of the profound workings of this ‘realm of life.’”
Wanting to understand more deeply what Ichien Hagan meant by the expression of human spirituality, I have been reading a book on the teachings of Bankei Zenji, a Zen monk from the early Edo period.. I find it fascinating, as it resonates with many aspects of the laws of the universe.
I was previously unaware of Ichien Hagan’s existence and had never seen his works, but through his Wikipedia page, I have gained many valuable insights.
The reason I came across this page was that I was invited to attend Ichien Hagan’s retrospective exhibition.
The invitation came from a member of his family, who is also one of my readers (and a valued client). Coincidentally, the exhibition will take place during my stay in Tokyo, making the timing feel almost serendipitous. I am truly looking forward to it!