Thus, when the sick Van Gogh calmly accepted the prospect of a future in which he would be unable to paint any more, there was no sterile resignation. For him painting was a personal way of life and of communication with others which in another form could be continued even in an asylum. The past will be integrated and freedom will be confirmed in a renunciation of this kind. It will be lived in both heartbreak and joy. In heartbreak, because the project is then robbed of its particularity — it sacrifices its flesh and blood. But in joy, since at the moment one releases his hold, he again finds
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