Abstract
A few years ago in The Art Bulletin, Patrick A. Heelan presented a theory that Vincent van Gogh was able to perceive, and represent in some of his paintings, a non-Euclidean space “based on a strictly binocular visual comparison of depth and distance when all other clues to size, depth, and distance … are inoperative.”1 According to Heelan, this space approximated in form the non-Euclidean “visual space” that R. K. Luneburg and his followers had mapped out on the basis of experiments with subjects who were asked to align dimly glowing lights in a dark room.2 In support of his theory Heelan analyzed a number of paintings by Van Gogh, in particular the painting of the Bedroom at Arles in the Rijksmuseum Vincent van Gogh in Amsterdam (Fig. 1).3
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