what is the meaning of the starry night
The sky, the nature, the starry night satisfied his desire for infinity.
“I feel a tremendous need for religion, so I go outside at night to paint the stars”.
But although Van Gogh periodically defended the practices of Gauguin and Bernard, each time he inevitably repudiated them  and continued with his preferred method of painting from nature.  Like the impressionists he had met in Paris, especially Claude Monet, Van Gogh also favored working in series. He had painted his series of sunflowers in Arles, and he painted the series of cypresses and wheat fields at Saint-Rémy. The Starry Night belongs to this latter series,  as well as to a small series of nocturnes he initiated in Arles.
He wrote about existing in another dimension after death and associated this dimension with the night sky. “It would be so simple and would account so much for the terrible things in life, which now amaze and wound us so, if life had yet another hemisphere, invisible it is true, but where one lands when one dies.”  “Hope is in the stars,” he wrote, but he was quick to point out that “earth is a planet too, and consequently a star, or celestial orb.”  And he stated flatly that The Starry Night was “not a return to the romantic or to religious ideas.” 
“Epidemic” vs. “Pandemic”: What Do These Terms Mean?
The Most Common Words In Every Boy Band Song
Starry Night is one of the most recognized pieces of art in the world. It is absolutely everywhere, too. It can be seen on coffee, mugs, t-shirts, towels, magnets, etc. Honestly, it sometimes feels as if the painting’s fame has exceeded that of its creator. It is a magnificent piece of art. That Starry Night resonates with so many people is a testament to how its beauty is timeless and universal.
Vincent van Gogh painted Starry Night in 1889 during his stay at the asylum of Saint-Paul-de-Mausole near Saint-Rémy-de-Provence. Van Gogh lived well in the hospital; he was allowed more freedoms than any of the other patients. If attended, he could leave the hospital grounds; he was allowed to paint, read, and withdraw into his own room. He was even given a studio. While he suffered from the occasional relapse into paranoia and fits – officially he had been diagnosed with epileptic fits – it seemed his mental health was recovering.
Unfortunately, he relapsed. He began to suffer hallucination and have thoughts of suicide as he plunged into depression. Accordingly, there was a tonal shift in his work. He returned to incorporating the darker colors from the beginning of his career and Starry Night is a wonderful example of that shift. Blue dominates the painting, blending hills into the sky. The little village lays at the base in the painting in browns, greys, and blues. Even though each building is clearly outlined in black, the yellow and white of the stars and the moon stand out against the sky, drawing the eyes to the sky. They are the big attention grabber of the painting.
“I have done another landscape with olive trees, and a new study of the ‘starry sky'”, was van Gogh’s way of describing the painting in his letter the Theo. “Although I have not seen the new pictures by Gauguin and Bernard, I am fairly certain that these two studies are similarly conceived. When you see them some time [. ] I shall be able to give you a better idea of the things Gauguin, Bernard and I often used to talk about and occupy ourselves with than I can do in words; it is not a return to Romanticism or to religious ideas, no. But via Delacroix one can express more of Nature and the country, by means of colour and an individual drawing style, than might appear.” Van Gogh is making various points here. First, his synthesis of motifs was his first echo of work with Gauguin since his breakdown. The nighttime scene (this is something that had only just become important to van Gogh) offers the visual imagination its most distinctive, unique field of activity, since the lack of light requires the compensatory use of visual memory. Van Gogh used the memory method in his nocturnal scene; his discovery of the luminous power of darkness was a personal aesthetic discovery and needed no Gauguin as catalyst. Second, van Gogh was drawing upon his long-lost model Delacroix again, and the principle of contrast; once he paused to reflect on what he had achieved in recent weeks he found his attention drawn back to the colourist techniques which he himself had developed so far. Third, he was searching for the essence of the landscape, its very being – a way of registering its symbolic power, its vitality, its flux and constancy, all in one.
9) Pathologist Paul Wolf postulated in 2001 that the artist’s fondness for yellow in paintings like “Starry Night” resulted from taking too much digitalis, a treatment in his day for epilepsy.