Interpret Van Gogh's Accomplishments

For some time there has been a renowned idea that artistic creativity and mental illness’ have much in common. In fact, the idea that “madness” and artistic “genius” coincide can be traced back to some early Greek philosophers. In more recent years, some alternating research findings have lent some support to the idea that various types of mental conditions are linked in contrasting ways to creativity, and that extraordinary ingenuity itself might make certain people gain a better creative affinity when related to certain types of mental illness. Examinations of the lives of many of the most eminent but clearly “tortured” artistic and creative souls suggest that a disproportionate number of sculptors, painters, poets, actors, writers, and musicians
He was able to efficiently discuss his work on a surprisingly superior academic and lucid level with his brother and occasionally his friends. More accurate than the notion that his art was produced by his psychological crises is the understanding that his art was a contributing catalyst for his psychological collapse. Van Gogh himself voiced feelings of regret at the physical and mental disintegration that he believed were the fault of his neurotic creativity: "The more I am spent, ill, a broken pitcher, by so much more I am an artist, [A] kind of melancholy remains within us when we think that one could have created life at less cost than creating art" (L 514, July 1888). In other words, we should not miscalculate the effect Van Gogh's breakdowns had on his artistic side, but instead unravel the myths in order to recognize and ponder on an insightful talent mitigated by a phenomenal, fatiguing, and ultimately, incapacitating creative
The sky is aquamarine, the water is royal blue, and the ground is mauve. The town is blue and purple. The gas is yellow and the reflections are russet gold descending down to green-bronze. On the aquamarine field of the sky the Great Bear is a sparkling green and pink, whose discreet paleness contrasts with the brutal gold of the gas, two colourful figurines of lovers in the foreground." Vincent Van Gogh, letter 1888
Based on Van Gogh's personal account of the painting and the rough sketch in his 1888 letter, there is a suggestion that Starry Night Over the Rhone is actually a "cheerful" painting of "lovers" out for an evening stroll along the scenic Rhone riverside under a brightly starlit sky. While a romantic meaning may have been envisioned by the artist, certain details and ambiguity in the final painting of Starry Night over the Rhone may show the existence of a darker meaning of the painting.
Although Van Gogh's overall approach toward the Starry Night Over the Rhone sketch seemed "cheerful", is it possible that the artist studied the overall meaning and mood of the painting when he finally painted it in oil later that year, perhaps letting his growing depression warp the original sketch's romantic