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In 125 years, millions of people have looked at this painting. No one really saw it until recently.

Van Gogh saw something it took scientists another 100 years to see.

Image from Wikimedia Commons.

Van Gogh's Starry Night, 1889.

Vincent van Gogh never got to enjoy his own historic success as an artist (even though we've been able to imagine what that moment might have looked like). Van Gogh died in 1890 at the age of 37 in Auvers-sur-Oise, France after shooting himself in the chest with a revolver. It was a tragic end to a turbulent life marked by mental instability and severe self-doubt.

According to the Van Gogh Museum, in a letter to his brother Theo in 1890, just a couple of weeks before his death, Van Gogh wrote, "...my life, is attacked at the very root, my step also is faltering." The man was struggling and exhausted. The high standards he had set for himself and his art were taking a toll. He was unsure about his future and, up to this point, had not received much recognition for his work and thought himself a failure "as a man and as an artist."

His most well-known work, Starry Night, was famously painted while Van Gogh was staying in an asylum in France 1889 after he mutilated his ear during a psychotic episode. According to the Van Gogh Museum, though, this may not be the full story. While it is widely agreed that Van Gogh did in fact cut off his own ear, the museum notes that it was because of a fight between Van Gogh and Paul Gaugin, the artist he had been working for in Aries, that led to the violent explosion that highlighted his deteriorating mental state.

Vincent Van Gogh, artist, 19th century, famous artist, Starry NightVincent Van Gogh's Self-Portrait, 1889Image via Canva.

As one of the best known and most studied artists of the 19th century, Van Gogh's madness and how it influenced his work is not new information. But it turns out that those of us who have appreciated his work have been missing out on some critical details for more than 100 years—revealed in the 2010s thanks to the Hubble Space Telescope.

A video at the bottom of the page will explain everything, but before we get there, let's do some backstory:

We known Van Gogh was an artist—and a genius artist at that—but, it turns out, he was also scientist. Kind of.

Whether intentionally or not, fresh eyes have found that Van Gogh's art—aside from being breathtaking—also captures one of science and nature's most elusive concepts: Turbulence.

The concept of turbulence is hard to understand with math, but it turns out art makes it fairly easy to comprehend through depiction. So, what is turbulence?

According to Britannica, turbulence, or turbulent flow, is a concept of fluid dynamics in which a type of fluid flow (liquid or gas like air or water or air) undergoes an irregular fluctuation or energy cascade. In other words, the air or water swirls and eddies as it moves: big eddies make smaller eddies, and those make even smaller ones, and so on. Common examples of turbulent flow include blood flow in arteries, lava flow, atmosphere and ocean currents, and the flow in boat wakes or surrounding the tips of aircraft wings.

It looks like this:

figures, flow, turbulence, turbulent flow, science, movementTurbulent flow illustrated and animated.All Van Gogh GIFs via TED-Ed.

The thing is, scientists only started figuring this out pretty recently.

turbulence, turbulent flow, science, nature, researchAnimation of art referencing science.All Van Gogh GIFs via TED-Ed.

And yet, there was Mr. Vincent van Gogh, 100 years earlier in his asylum with a mutilated ear and able to accurately capture this turbulent flow in what would become his most famous work, Starry Night.

Starry Night, Van Gogh, turbulence, art, art captures scienceAnimated Starry NightAll Van Gogh GIFs via TED-Ed.

The folks who noticed Van Gogh's ability to capture turbulence checked to see whether other artists did the same. Most of the Impressionists achieved "luminance" with their art—a striking and lifelike depiction of light's effect on color. While impressive, they did not capture or depict turbulence the way Van Gogh did.

The Scream, Edvard Munch, art, popular art, history, painting An animated depiction of The Scream.All Van Gogh GIFs via TED-Ed.

Not even Edvard Munch's The Scream, with it's swirling color and movement, could recreate what Van Gogh had accomplished.

Even in his darkest time, Van Gogh was able to capture—with eerie accuracy—one of nature's most complex and confusing concepts 100 years before scientists had the technology to do so.

Who would have thought that the beauty Van Gogh captured was foreshadowing what scientists would observe in the real, natural world in a century's time? To learn even more, watch the TED-Ed video below:

- YouTubeyoutu.be

This article originally appeared twelve years ago. It has been updated.

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Health

Artists got fed up with these 'anti-homeless spikes.' So they made them a bit more ... comfy.

"Our moral compass is skewed if we think things like this are acceptable."

Photo courtesy of CC BY-ND, Immo Klink and Marco Godoy

Spikes line the concrete to prevent sleeping.


These are called "anti-homeless spikes." They're about as friendly as they sound.

As you may have guessed, they're intended to deter people who are homeless from sitting or sleeping on that concrete step. And yeah, they're pretty awful.

The spikes are a prime example of how cities design spaces to keep homeless people away.

Not all concrete steps have spikes on them, but outdoor seating in cities like Montreal and Tokyo have been sneakily designed to prevent people from resting too comfortably for too long.

This guy sawing through a bench was part of a 2006 protest in Toulouse, France, where public seating intentionally included armrests to prevent people from lying down.

Of course, these designs do nothing to fight the cause or problem of homelessness. They're just a way of saying to homeless people, "Go somewhere else. We don't want to look at you,"basically.

One particular set of spikes was outside a former night club in London. And a local group got sick of staring at them.

Leah Borromeo is part of the art collective "Space, Not Spikes" — a group that's fed up with what she describes as "hostile architecture."

"Spikes do nothing more than shoo the realities of poverty and inequality away from your backyard — so you don't have to see it or confront what you can do to make things more equal," Borromeo told Upworthy. "And that is really selfish."

"Our moral compass is skewed if we think things like this are acceptable."

charity, social consciousness, artist

A bed covers up spikes on the concrete.

assets.rebelmouse.io

The move by Space, Not Spikes has caused quite a stir in London and around the world. The simple but impactful idea even garnered support from music artist Ellie Goulding.

"That was amazing, wasn't it?" Borromeo said of Goulding's shout-out on Instagram.

books, philanthropy, capitalism

Artist's puppy books and home comforts.

assets.rebelmouse.io

"[The project has] definitely touched a nerve and I think it is because, as a whole, humans will still look out for each other," Borromeo told Upworthy. "Capitalism and greed conditions us to look out for ourselves and negate the welfare of others, but ultimately, I think we're actually really kind."

"We need to call out injustice and hypocrisy when we see it."
anti-homeless laws, legislation, panhandling

A message to offer support in contrast with current anti-homeless laws.

assets.rebelmouse.io

These spikes may be in London, but the U.S. definitely has its fair share of anti-homeless sentiment, too.

Spikes are pretty obvious — they're a visual reminder of a problem many cities are trying to ignore. But what we can't see on the street is the rise of anti-homeless laws that have cropped up from sea to shining sea.

Legislation that targets homeless people — like bans on panhandling and prohibiting people from sleeping in cars — has increased significantly in recent years.

For instance, a report by the National Law Center on Homelessness & Poverty that analyzed 187 American cities found that there's been a 43% hike in citywide bans on sitting or lying down in certain spaces since 2011.

Thankfully, groups like "Space, Not Spikes" are out there changing hearts and minds. But they need our help.

The group created a video to complement its work and Borromeo's hoping its positive underlying message will motivate people to do better.

"[The world] won't always be happy-clappy because positive social change needs constructive conflict and debate," she explained. "But we need to call out injustice and hypocrisy when we see it."

Check out their video below:

This article originally appeared on 07.24.15

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Health

Artist beautifully illustrates the transformative power of turning toward fear

In just six images, Cécile Carre captures what therapy for fear and anxiety can do.

Cécile Carre/Facebook

Fear is a finicky beast.

When my oldest daughter was in the deepest throes of a clinical phobia, her fear overtook everything. She practically became a hermit at 16, afraid to go anywhere. Thankfully, we found an excellent therapist who taught her how to tame her fear, to gently manage it, to approach it in such a way that allowed it to dissipate instead of continuing to dominate her every thought.

People who struggle with anxiety or fear, whether it stems from trauma or wonky brain wiring, understand how overwhelming it can be. Fear and anxiety can feel incapacitating at times, making you want to run far away or curl into the tiniest ball and disappear. But neither of those things actually helps. In fact, the first thing my daughter's therapist told her is that avoidance always make anxiety worse.


Instead, she taught my daughter to approach that fearful voice in her head. After all, that voice was hers, and it desperately wanted to be heard and understood. Ignoring it, avoiding it, trying to distract it way simply made it yell louder. "Maybe you're right," she would say to that voice, even though it terrified her to do so. "Maybe you're right, and maybe you're wrong. Let's just wait and see what happens"—that became her mantra to her own brain, and as counterintuitive as it seemed, it worked.

I could explain the science of the amygdala—the fight-or-flight center of the brain that acts on instinct—and why the "Maybe you're right" approach helped retrain it not to overreact. But an artist has created a visual series that describes it in different terms that may resonate more with people who have experienced embracing fear.

Cécile Carre posted her series of paintings about fear on Facebook and they've been shared more than 12,000 times. As with any art, interpretations will naturally vary, but judging from the comments, people dealing with anxiety, fear, or unhealed trauma may find some truth in it.

The first image shows a girl curled in a fetal position with her back to a big, scary monster bearing down on her, with a word painted beneath it.

"Everyday..."

As the girl turns and faces the monster, it immediately looks less scary. Still big, still towering over her, but not terrifying.

"...Trying..."

As the girl walks toward the monster, she starts looking bigger. The monster transforms into a mirror image of herself, the terror of it literally melting away.

"...to watch..."

And then it becomes a child looking for comfort rushing into her arms. Even its color begins to blend with her own.

"...and embrace..."

And then a baby, purely in need of nurturing, wrapped lovingly in her arms.

"...my fear..."

And then...nothing. Just a simple, calm little diamond where the girl was.

"...until it disappears completely..."

The work of turning toward what you fear is not simple or easy, and it may take therapy, medication, or other methods to treat mental illness effectively. But this series of paintings shows what many experience when they stop avoiding and start approaching the roaring voice that tells them to be afraid. Though it's thoroughly terrifying to make that initial turn—I saw it in my own daughter, and it took a lot of effort—seeing the beast shrink down and eventually disappear is an incredible gift.

Thank you, Cécile Carre, for illustrating that so beautifully. You can order her prints here.


This article originally appeared on 03.06.20

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Identity

'Pyrography' artist makes hyper realistic portraits on wood using only fire and razorblades

Alex Peter Idoko/Twitter

Alex Peter Idoko's portraits made from fire are incredible.

Creating art is possibly the most uniquely human thing people do, and some of us do it exceptionally well. Just when it seems like humans couldn't possibly come up with more inventive ways to express the artistic impulse, someone comes along to surprise us. What is more fun than being blown away by artists who master various art forms and find new methods and mediums to create with?

Enter Alex Peter Idoko's pyrography art.

Pyrography literally means writing or drawing with fire, and Idoko makes incredibly realistic "paintings" on wood with a blow torch, sandpaper, razorblades and charcoal. The final pieces are almost unbelievable, and watching his process in action is equally mind-blowing.

Idoko is a self-taught pyrography artist from Nigeria and his works focus on "writing, rebranding, and editing the Black story," both on the African continent and beyond. He portrays issues and challenges that surround Black people and also provides positive images for the next generation to look to for inspiration.

His pieces make powerful statements, in addition to being artistically impressive. I mean, if most of us took a blowtorch to a piece of wood, it certainly wouldn't result in something like this:

Some of his works are hyperrealistic, looking nearly indistinguishable from a photograph. The fact that he can create something like this by burning, sanding and scraping wood is just beyond.

Idoko has shared some glimpses into his process, which usually involves burning a wood canvas to create dark shades, then using sandpaper and razorblades to create lighter shades. He utilizes those tools along with charcoal to create minute details such as skin pores and water droplets as well.

Idoko shares his work on Instagram as well as his website, where he has a blog explaining the intent and meaning behind many of his pieces.

Below is the final version of the piece he was working on above, which the caption on Instagram describes as a woman "dressed in a royal regalia and adorned with beautiful jewelries of cowries and beads with the poise of a Queen which doubtless marks her a member of a royal family."

The caption says the piece "compels viewers to understand that there is an unwritten history in history that is visible to all that wants to see, he also enables all to see that Africans ancient and present were not and are not cowards, barbaric or lazy as the history might document."

Check out more examples of his works and his process:

Just utterly incredible. You can find and follow Alex Peter Idoko's work on Instagram, Facebook and Twitter.

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