Hollywood Artists Vincent and THEO…AND Essay

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The famous canvasses are omnipresent but usually left in the background, kept in Theo's salon or, strangely, subjected to repeated mutilation: smeared, thrown, smashed to demonstrate their (and the artist's) fragility. In the painting scenes, occasionally the image on the easel fails to match the landscape that Roth-as-van-Gogh is nominally depicting: in the first 1890 painting sequence, a row of trees disappears from the canvas in what appears to be either a gesture of either the artist's madness or the filmmaker's lack of interest.

Tellingly, the only real brushwork in the film is as background for the credits.

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Brushwork, of course, is where imagery -- the myth of the artist, the "vision" of subject matter -- meets the pragmatic realities of materials and technique. Altman captures the mud of materials and the marketplace alike, and provides a rich and allegorical subject, but I would have liked this film to have explored the interaction between them more rigorously. Van Gogh as saint and monster and man, as outsider and insider: are we ready?

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