Mountain Landscape Seen Across the Walls, which Van Gogh painted in June 1889, approximately a month after coming to Saint-Rémy, features a sky that is antithetical to the one Vincent painted in Starry Night over the Rhone. The white clouds assume a three-dimensionality and tangibility that far exceeds a truthful representation of clouds: they seem to be rolling toward the viewer like the angry rapids of a river, flowing like water and asserting their presence. While the sky in this composition gains tangibility by becoming nearly liquid, the ground loses solidity as it assumes the same liquid qualities, with the grass flowing into ripples and eddies like the surface of a lake. What results is a peculiar circumstance in which the sky has the same qualities of tangibility as the ground, making either as fitting for habitation. Here, Van Gogh constructs both Heaven (the sky) and earth (the ground) as places in which he belongs equally: he is unable to decide whether he belongs in Heaven or on earth, whether it is best for him to die or go on living.