Submit your work, meet writers and drop the ads. Become a member
elin mair Jan 2021
Let’s greet at the Church at Auvers,
And allow gates to uncover
Dewy daisies and dug up skulls
And crystalline spheres full of love.

Let’s meet at the Church at Auvers,
And behold our hearts as lovers
Where the moon glints its purple light
And our youth and fire shine so bright.

Let’s kiss at the Church at Auvers,
And let ourselves rediscover
Golden bulbs of precious life
Of luck and laugh of love so rife.

Let’s wed at the Church at Auvers.
At midnight, unknown, undercover;
Soft moon-kissed skin touching skin,
Lives entwined, lovers with a grin.

Let us leave the Church at Auvers,
And let’s dance across this river,
Towards an ardent red sunrise
Of perpetual paradise.
this is based on the painting by vincent van gogh and the incessant desire to to go to france with my soulmate
Joe DiSabatino Jan 2017
late last night i walked alone along the desolate shore
of Monet’s pond at Giverny the pale moon
sometimes obscured by impasto clouds
the waterlilies those treacherous waterlilies
screaming in agony
Saskia, Rembrandt’s wife, was there
naked and weeping, her hair and body
wet and slimy draped in orange pond algae
Cezanne crouched nearby cursing and slashing canvases
with a butcher’s knife before tossing them into a fire
when he finished he made fierce love to Saskia
who sang an old Dutch love song as he did
Rembrandt was in deep conversation with Monet
in a puddle of passing moonlight
and didn’t seemed to mind, anything
to stop her endless wailing I heard him say
Monet says Titian’s mistress is now a mermaid
who lives beneath my betraying waterlilies which is why they cry
and why I keep painting them no one makes love like her
just look at Titian’s Madonnas
Van Gogh stumbles in from a dung-filled alley, bleeding badly
from the bullet wound in his abdomen,
where the rich kids from Auvers tormented and shot him
just for the fun of it, Vermeer bankrupt and gaunt
steps from behind a tree and asks if it’s suicide or the new art
Vincent says let the people believe that tragic ending
it’s a dramatic final brushstroke to my life even if untrue
but I love the blackbirds and my wheat fields and blue irises
way too much to spill my guts on them cadmium red maybe
my left ear lobe maybe but never my guts
where’s de Kooning anyhow he yells the *******
borrowed my paintbrush and never returned it
now I’ll have to paint with the tongue of Gauguin’s old shoe
Caravaggio floats by face up caressed by the wet palms of the weeping lilies
he’s burning up with fever delirious screaming
where’s my ship where’s my ship
they’re all on the ship my paintings
my paintings will redeem me the Pope knows
I only killed one man
Monet strokes his beard like Moses Rembrandt
says it happens to all of us even our wives and
mistresses perhaps it’s the lead in our *****
it’s not suicide it’s not homicide it’s the madness of living too much
Rothko appears, a translucent ghost inside a mist salving his slashed wrist
with Monet’s pond water Mark washing washing
the healing water the Giverny water dancing with pran the giver of life
that’s what Monet was painting at the end
using the palette from the other side
pran transmitted through the wailing
of the waterlilies the siren’s song
that lures artists to their death
and then washes them clean for the next go
to pick up where they left off, alone
with his whiskey bottle Jackson ******* hurls paint clots
at Rembrandt’s Still Life with Peacocks
those two dead peacocks they’re all dead peacocks
floating belly up under Monet’s footbridge
all the color gone from their plumage
drink the water Jackson or better yet
let Cezanne rip out your diseased liver
and wrap it carefully in a weeping waterlily
and float it out into the middle of the pond
where the forgiving moonlight and the mermaids
and Monet’s eyes now dim with cataracts
can help it filter out the poison of living
too much and then you too Jackson
will make painterly love to Saskia and she will
daub your diseased body in Titian’s blue
and her husband’s gold and Vincent’s sunflower yellows
and send you back into the world
where you will continue to splash us all  
as we lie flat on the ground hands and legs intertwined
our faces and bodies your canvas more willing than ever
Jackson, you’ll turn us into a unified field of smashed hues not just from here but from where you stand one foot on the other side
get us all raging drunk Jackson in that myth you longed for
splatter us in the tinted mess of the mystery you raged at
and had to settle for drunken oblivion instead
drink deeply the mystic-hued water of Giverny
Vincent and Paul and Mark and Jackson
and when you come back
spit it out on our parched souls
I have in me a bit of Tuscan sun
The wildness of mistral
The calmness of a Cezanne village
I often walk around the countryside of Pissaro
And see the colors, still abundant, undefeated
I stroll around the lilies and the harbor of France where Manet painted being thrown out of his house, not able to pay the rent
I dance with the beautiful girls in high society Parisian parties of whom from Zola to Maugham spoke about
I learn art in silence, in the bright orange color of the day drawing the French young girl
Whose face is like Madonna
Her innocence, her laughter, her flawless body
Excite me, breaks me, creates me
I walk with clean head and red wine in the streets of Montmartre
Searching the gone and dusted studio of Renoir, Picasso, Monet
I stand exactly there where there is nothing old except the moon
And the Sacre Couer
In the morning I take the first train to Auvers Sur Oise
And walk into the cemetery
Where lie in the gorgeous French sun
Vincent and Theo Van Gogh
I utter to them, "Can dream ever be false?"
It is when I heard the footsteps
I turned
The girl in the yellow dress stands at the gate of the cemetery
Whom I draw every day but never captured her beauty
The French girl
We both stand there as it is
As if 
framed
paused 
Frozen
We, the Impressionists!
Joel M Frye Mar 2016
I have traced your steps for years,
since I first saw your ships sailing
on the sandy shore, still looking as if
they had found their perfect reach.
You sang my madness on canvas
with green fiery torches of trees
exploding from gently rolling hills.
You created the same masks as I
as you painted your stark reality
in cheery yellow and orange,
lying to your brother that all was well.
Your portrait mirrors mine with eyes
that see the world whirl by
in excruciating precision
(even the parts which make most cringe).
When I have exhausted myself,
I comfort in the tenderness
of your brush on the faces of
men and women working
themselves to early graves.
A building for you alone in Amsterdam,
your final work hangs downstairs;
a tangled jumble, swirls and slabs
of pigments and oil, ultimately ugly
from five feet away.  Wandering through,
I ended up three stories up and
a hundred feet away.
The wheat waved in the winds,
and the larks took flight
as if spooked by the farmer's dog.
Glorious light from the Auvers sun
filled the space between your vision
and mine.  I sobbed for you then,
to have been torn from self
so violently that if
you shouted to yourself
you likely couldn't hear.
Small wonder you pulled the trigger,
because the wheat field you spread
on a table-sized landscape
sat beside the graveyard where
you and Theo lay side by side.
As I walked along, the only place
you could see the field and the paths
was with your back against the wall.
Family in Amsterdam,
too few friends in Paris,
the short walk to the cold
respite of the Church
no longer worth the breath spent.
Nowhere else to go,
nothing else to see,
too little paint left
to try again.
"Starry starry night...paint your palette blue and gray..."
Dr Peter Lim Aug 2021
Faraway village

under misty autumn sky

pervading silence
A Feb 2019
How does it feel to be disliked by your whole village
But loved by a world you never got to know

Arles never once treated you with the same beauty as you saw in it
Concern for your wellbeing never came from the people you passed
Not even after they learned that you had taken your last breath
Your memory contained nothing but whispered rumors
They painted the picture of the madman who kept no company
Disregarding the compassion that flowed out of you
Only some knew the truth and what events molded
The trauma that shaped the man who frequented empty fields
Auvers-sur-Oise knew you as a separate man entirely
They stole pieces of you that you did not even have of yourself
Made you their crown jewel, nothing more than a story to keep the town alive
No part of your legacy remained untouched, just as no relationship you’d held stayed pure
Your own doctor claimed your art and in turn your reputation for himself
But how were you to have stopped them
Especially when you were not around to plead for anything different

How does it feel to be disliked by your whole village
But loved by a world you never got to know
Jonathan Moya Aug 2020
It was the light that told Vincent,
the one which always told him the truth
reflected his soul’s desire,
the glistenings of his mind,
that this mass of  gnarled roots
would be his last vision.

He could feel the gun smoke
creeping into his soul,
corrupting his thoughts,
the very rays of his world,
even his beloved
hog hair brushes and pigments

as he walked the Rue Daubigny
pass the Church at Auvers
he needed to canvas in June
when the flint of its history,
death, faith, passion and beauty
impelled him to create,

pass the wheat field absent of crows
which made the world seem more
beautiful with its darkness
hovering over the light of July,
diminished now to ordinary light,
smoke, haze and fog.

He felt his world constricted to
a blue room with a blue bed,
a blue chair wedged in a corner
draped in blue shadows
which could not be mixed
to the perfect colors.

When he saw the gnarled roots
exposed in late afternoon July beams
he knew that he would not live
to see the first dawn of August,
that this would be his last
perfect beautiful, silent spot.

He painted smelling the gun smoke coming,
the smoke turning into a bullet
as he passionately tried to  capture
life itself frantically and fervently rooting itself,
as it were, in the earth and yet being
half torn up by the storm.

— The End —