Behind History's Icons III: Van Gogh's Bloody Ear Mystery
Ancient Egyptians believed that mummifying a king's body ensured his ascent among the gods. The preserved corpse — called the Ach (Egyptian for 'shining' or 'spirit') — entered a sarcophagus symbolizing the womb of Nut, the sky goddess.
The belief in the enduring power of human remains has recurred throughout history. In early Christianity, Western Europe venerated the relics of saints, including Christ's foreskin and John the Baptist's skull. By the 19th century, European physicians had begun to preserve and study organs from notable individuals.
From strands of Muhammad's beard to Adolf Hitler's jaw and Buddha's teeth, this series offers an overview of the most famous human body parts in human history. Part III focuses on Vincent van Gogh's ear.
Unexpected Gift
In 1889, 22-year-old French intern Félix Rey (1867-1932) received an unusual gift from one of his former patients, a mentally ill painter named Vincent Willem van Gogh (1853-1890), had sent him a painting depicting Rey himself. Rey appreciated his patient's efforts but could not relate to his painting style.
He considered the portrait unrealistic. It did not do justice to his natural appearance. So, he gave the painting to his mother. She called it hideous and ridiculous and used it from then on to cover a hole in the family's chicken coop. An art connoisseur soon bought the disgrace at a ridiculous price.
By 2016, the painting — now in Moscow's Pushkin State Museum of Fine Arts — was valued at US $50 million (then €45 million), roughly US $66.7 million (€58.6 million) in 2025. Had Rey retained it, his descendants would have been financially secure for generations.
However, such mental exercise misunderstands the context in which Rey accepted the gift. He had a good reason to be skeptical of van Gogh's gesture of gratitude, given that it was the news of an even more unusual gift that had brought them together a year earlier.
Self-Inflicted Injury
On Christmas Eve, 1888, in Arles. As a 21-year-old medical intern most closely equivalent to today's junior doctor, Rey was on duty at Hôtel-Dieu, Paris, despite the holiday when the police brought in a man who had cut off his ear the previous night to present it to an 18-year-old prostitute.
The story fascinated and horrified Rey at the same time. However, there was no time to take a medical history — a potentially life-threatening injury had to be treated. He quickly sketched the relevant anatomy, both to guide the procedure and prepare for police questions. With tunnel vision, the wound was cleaned and bandaged.
Over the following week, Rey closely observed his patient and was concerned about the risk of major hemorrhage or infection. During this time, he witnessed several of what were described as van Gogh's 'crises.' These episodes reminded him of a condition in which one of his former classmates had studied for his doctoral thesis, masked epilepsy.
The symptoms of this condition had been described as early as 1860 by French psychiatrist Bénédict Augustin Morel (1809-1873), whose work formed the basis of Rey's colleague's dissertation: 'Under the term 'masked epilepsy,' I described a form of epilepsy not marked by typical seizures — neither minor nor major — but instead by the accompanying or preceding symptoms of epileptic attacks: Alternating periods of excitement and depression; manifestations of sudden anger without sufficient cause and for the most trivial reasons; a usually highly irritable disposition; amnesia typical of epilepsy; and dangerous acts committed during momentary or transient fits of anger. Some people with epilepsy of this type have even experienced genuine auditory and visual hallucinations.'
Rey believed he observed all these symptoms during van Gogh's case. For the first time, he diagnosed the artist with epilepsy, finally giving a name to his suffering.
Van Gogh would later express deep gratitude for Rey's diagnosis and care in letters to his brother and patron, Theo van Gogh (1857-1891): '[Rey] is brave, hardworking, and always helping people,' he wrote.
Before presenting one of his paintings to Rey, van Gogh asked Theo to send the doctor a copy of 'The Anatomy Lesson of Dr Tulp' by Rembrandt van Rijn (1606-1669).
Clinical Viewpoint
However, for Rey, van Gogh remained only one among many patients. He interpreted van Gogh's intense emotions less as expressions of personal feelings and more as clinical symptoms. The mystery surrounding the events of Christmas Eve in 1888 reinforced this perspective.
On December 30, 1888, Rey wrote: 'When I tried to get [van Gogh] to talk about the motive that drove him to cut off his ear, he replied that it was a purely personal matter.'
Centuries later, researchers found evidence that van Gogh's silence might not have served only to protect himself.
Lifelong Guilt
Historians now generally agree that the incident on Christmas Eve, 1888, followed a heated argument between van Gogh and his roommate Eugène-Henri-Paul Gauguin (1848-1903). That September, van Gogh had moved into a house in Arles with the goal of establishing a shared workspace for modern artists — a dream he called 'Atelier des Suds.'
Although he invited several artists, only Gauguin accepted, on the condition that Theo fund his travel and a monthly stipend.
Vincent agreed to share both Theo's allowance of 150 francs and his home with Gauguin. However, their differences quickly became evident.
Gauguin, pragmatic and strategic, saw the partnership as a potential source of income. For van Gogh, this was a way to pursue an artistic ideal and prove himself in a competitive art world.
Shortly before Gauguin's arrival, van Gogh painted nonstop for days, mostly sunflowers. He wanted to express his joy at the approaching meeting and impress his rival as he entered.
Conversations about money were a greater burden on van Gogh than average, as he always felt indebted to his brother Theo, who was 4 years younger than him and supported him despite his lack of success.
In a letter to Vincent soon after Gauguin arrived, Theo addressed his brother's worries: 'I am very pleased that Gauguin is with you...[...] Now, in your letter, I see that you are ill and worried a lot. I must tell you something, once and for all. [...] You speak of the money you owe and want to return to me. I do not know that. What I want you to achieve is that you should never have to worry. I am forced to work for money.'
Artistic Differences
The argument between Gauguin and van Gogh on the evening of December 23, 1888, was shaped by the strained dynamics among the three men. Gauguin was increasingly frustrated by the lack of success at the Southern studio, while Theo van Gogh had recently fallen in love with Johanna Gezina Bonger (1862-1925), sister of family friend and art dealer Andries Bonger (1861-1936). Vincent van Gogh feared that both Gauguin and Theo might soon abandon him.
According to newspaper reports, van Gogh lost an ear around 11:30 PM that night.
About 15 years later, Gauguin claimed that van Gogh had assaulted him several times during their collaboration. On the night before the infamous incident, Gauguin said that he stepped out of the studio for some air and was chased by van Gogh, who allegedly attacked him with a razor. For unknown reasons, van Gogh changed his mind and cut off his ears.
Historical Debate and Brothel Mystery
What is historically verified is that Gauguin left Arles abruptly on the night of December 23, 1888, and never returned to van Gogh. Records also show that during his first day in the hospital, van Gogh repeatedly asked about Gauguin's whereabouts. Gauguin had earlier instructed the police to politely turn van Gogh away if he came looking for him.
Art historian Martin Bailey suggested a different version of events: That Gauguin was provoked by van Gogh and cut off his ear with a sword. To avoid prosecution, Gauguin allegedly spread false claims and fled the city.
Another mystery remains — why van Gogh took his severed ear to a brothel. He reportedly gave it to his favorite prostitute, Rachel, telling her to take good care of it. She fainted on the spot.
It is now known that Rachel's real name was Gabrielle Berlatier. She was 18 years old at the time, heavily in debt due to medical expenses, and worked for years as a cleaner at the Café de la Gare, a place often visited by van Gogh.
Some biographers believe that after mutilating himself, van Gogh returned to his studio, where he began to hear voices. Possibly following their commands, he took his ear to the brothel and gave it to Gabrielle.
The Van Gogh Museum in Amsterdam supports Gauguin's version of the events of December 23, 1888. Bailey's theory that van Gogh lost his ear due to Gauguin's sword is considered highly controversial.
Another debated theory appears in a book by art historian Bernadette Murphy. Based on conversations with Berlatier's descendants, she concluded that Gabrielle worked only as a janitor at the brothel.
It was confirmed that Berlatier had suffered from rabies, which left her with severe scarring. Murphy speculates that van Gogh, moved by compassion, gave her his own ear as an offering or gesture of empathy.
Whether the gift consisted of just the earlobe or the entire ear remained uncertain until 2016. Resurfaced drawings by Rey documenting the mutilation show that the entire ear was missing. Art critic Sidney Geist speculates that Jo Bonger may have spread conflicting narratives after her marriage to Theo van Gogh in order to improve the family image.
Dual Realities
The life of one of history's most celebrated artists was so complex and layered that it blurs the line between illness and health, madness and genius — simply different perspectives on the same truth.
Read the previous parts of the series.
• Part II: Behind History's Icons II: Hitler's Jaw and Cold War Secrets.
• Part I: Behind History's Icons: Napoleon and His Notorious Anatomy.
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