Tobias had no drinking problem, yet he still abused Eileen. He imposed one rule on her: no wands. Men and women were inherently unequal in physical strength, and Tobias was the family's main breadwinner. Whenever Tobias raised his voice, Eileen would shrink back in fear.
That was the working class: drinking and violence were common enough. Tobias did not truly like anything that much, either. Even if he had married Eileen, a witch, because of the novelty at first, life had stripped away the original joy.
Severus swore he would never become a man like his father, but Tobias had influenced him in the end.
He was a thoroughly wild person, but he did not turn his violent side against his "family." He turned it against enemies outside.
Although Van Gogh was widely recognized as a Post-Impressionist painter, after seeing his work, Pomona "felt" that he ought to have been a Fauvist, even though Fauvism did not emerge in Paris until after his death.
His paintings were far too different from Monet's.
On this rainy Venice morning, Pomona held the painting with both hands. It had been hidden inside a compartment in a Gothic-style sideboard. It was about twenty by thirty inches and depicted a barn beneath a blue sky, with two farmers working outside while Van Gogh observed the scene from indoors. He had painted the window frame in the lower-right corner.
During the final years of his life, Van Gogh voluntarily entered Saint-Paul Asylum near Saint-Rémy. At first, he was permitted to work outside the asylum without supervision, and his condition temporarily improved before worsening again.
Unable to visit the landscapes he loved, he was reduced to painting from memory or depicting his immediate surroundings.
His "manic" episodes unleashed energy and creativity. Like the Fauvists, he used vivid,