Have you seen the portrait he painted of me while I was painting some sunflowers? My expression has certainly grown more cheerful since then, but at that time I looked just like that--absolutely exhausted and charged with electricity. If I had then had the strength to pursue my calling, I should have painted saintly figures of men and women from nature. They would have looked as if they belonged to another age. They would have been creatures of to-day and yet they would have borne some resemblance to the early Christians.

But that sort of thing is too wearing, it would have killed me.

Nevertheless, I will not swear that later on, perhaps, I may not take up the struggle again. You are quite right, a thousand times right! One should not give a thought to such things. Painting studies is simply a taking of herbs to calm one, and when one is calm, well ... then one does what one is fitted for.

It really is a pity that there are so few pictures of poor people in Paris. I think that my peasant would look quite well by the side of your Lautrec. I even flatter myself that the Lautrec would look all the better for the strong contrast, while my picture would necessarily profit too from the peculiar juxtaposition; because sunniness and scorched tawny colouring, the hot sun and the open air, are thrown into stronger relief by the side of the powdered faces and the smart dresses.

What a shame it is that the Parisians show so little taste for vigorous things, such as the Monticelli?'s, for instance.

Of course I am well aware of the fact that one must not lose courage because Utopias do not come true. All I know is this, that everything I learnt in Paris is going to the deuce, and I am returning to that which seemed to me right and proper in the country, before I had become acquainted with the impressionists. I should not be at all surprised if, within a short time, the impressionists found a great deal to criticize in my work, which is certainly much more under the suggestion of Delacroix?' painting than of theirs. For, instead of reproducing exactly what I see before me, I treat the colouring in a perfectly arbitrary fashion. What I aim at above all is powerful expression. But let us drop theory, and allow me rather to make my meaning clear to you by means of an example.

Just suppose that I am to paint the portrait of an artist friend--an artist who dreams great dreams and who works as the nightingale sings, simply because it is his nature to do so.

Let us imagine him a fair man. All the love I feel for him I should like to reveal in my painting of the picture. To begin with, then, I paint him just as he is, as faithfully as possible--still this is only the beginning. The picture is by no means finished at this stage. Now I begin to apply the colour arbitrarily. I exaggerate the tone of his fair hair; I take orange, chrome, and dull lemon yellow. Behind his head, instead of the trivial wall of the room--I paint infinity. I make a simple background out of the richest of blues, as strong as my palette will allow. And thus, owing to this simple combination, the fair and luminous head has the mysterious effect, upon the rich blue background, of a star suspended in dark ether.

I proceed in much the same way with the portrait of the peasant. But one ought to picture this sort of fellow in the scorching noonday sun, in the midst of the harvest. Hence this flaming orange, like a red-hot iron; hence the luminous shadows like old gold. Ah, dear friend, the public will see only a caricature in this exaggeration. But what do we care? We have read "La? Terre" and "Germinal," and when we paint a peasant, we wish to show that this reading has become part of our flesh and blood.

I can only choose between being a good and a bad painter. I choose the former.

LETTERS TO E. BERNARD

I still believe that in studios one learns next to nothing about painting and certainly nothing about life, and that one should do all one can to learn to live and to paint without having recourse to those old fools and wiseacres.{A} [These numbers refer to the notes at the end of the book.--TR. (The numbers have been replaced with letters and curly brackets for clarification.[etext transcriber.])]

When our relations with a painter are so strained as to make us say: "If that fellow exhibits any of his pictures by the side of mine, I shall withdraw mine," and then proceed to abuse him, it seems to me that this is not the proper way to act; for, previous to arriving at such drastic conclusions one should make quite sure, and give the matter careful thought. After due reflection we are almost sure to find--particularly when we happen to be at loggerheads with the artist--that there is as much to criticize in our own work as in the other man?'s. He has as much right to exist as we have. When it is remembered that this man or that--be he a pointilliste or a member of another school--has often done good work, instead of disparaging him, we should speak of him with respect and sympathy, more particularly if he happen to be in disagreement with us. Otherwise we become too narrow-minded and are no better than those who can say no good of others and regard themselves alone as right. The observance of this principle ought even to be extended to the academicians. Take one of Fantin-Latour?'s pictures, for instance, or even the whole of his life-work! In any case he is not a revolutionary, and yet there is something restful and confident in his work, which elevates him to the rank of the most independent characters.

For the good of all concerned, it is worth while abandoning the selfish principle: "Everyone? for himself."

MY DEAR BERNARD,

As I promised to write to you, I shall at once begin by saying that the country in these parts seems to me just as beautiful as j.a.pan, as far as the clearness of the air and the cheerful colouring are concerned. In the landscape the water looks like sheets of fine emerald or of a rich blue of the shade with which we are familiar in c.r.a.pe prints.[23] Pale sunsets make the ground appear quite blue. Glorious golden suns! And I have not yet seen the country in the usual splendour of its summer garb. The costume of the women is pretty, and on Sundays especially very simple and happy combinations of colour may be seen on the boulevard.

And there can be no doubt that in summer things will be even gayer still. I only regret that living here is not so cheap as I had hoped it would be, and up to the present I have not succeeded in finding such inexpensive quarters as are to be found in Pont-Aven. At first I had to pay five francs a day, and now I pay four. If one could only speak the local dialect and eat _bouillabaisse_ and _aioli_, one might certainly find an inexpensive pension in Arles.... Even if the j.a.panese do not make any headway in their own land, their art is certainly being continued in France. At the beginning of this letter I send you a small sketch of a study on which I am now engaged, and of which I should like to make something. Seamen with their sweethearts are going to the town, which, with its drawbridge, stands in wonderful outline against the yellow disc of the sun. I have also another study of the same drawbridge, with a group of washerwomen.

I should be very glad to have a word from you, just to know how you are and where you are going. With best wishes to you and our friends.

Your old friend

VINCENT.

I have just read a book about the Marquesas Islands. It was neither beautiful nor well-written, but it was heartrending inasmuch as it described the extermination of a whole tribe of aborigines--_cannibals_!

They were cannibals in the sense that they ate one man, say once a month (what did that matter?)

The thoroughly Christian whites could think of no better way of putting an end to this barbarity, which on the whole was only mildly bloodthirsty, than by exterminating not only the tribe of aboriginal cannibals, but also the tribe with which they used to fight the battles calculated to provide both sides with the necessary prisoners of war to be eaten.

Then the two islands were annexed, and since then they have been unspeakably gloomy!

These tattooed races, n.i.g.g.e.rs, Indians--everything, everything is either disappearing or degenerating. And the dreadful white man with his brandy, his purse, and his syphilis!--when will the world have had enough of him? The horrible white man, with his hypocrisy, his l.u.s.t of gold, his sterility! And these poor savages were so full of gentleness and love!

There is real poetry in Gauguin?'s negresses. And everything that comes from his brush has something charming, something heartrending and astounding about it. He is not yet understood, and he suffers greatly from not being able to sell his work like other true poets.

[Ill.u.s.tration]

I have just taken a house. It is painted yellow outside and whitewashed within, and it stands right in the sun.

I have painted the following still-life: a blue-enamelled coffee pot, a royal blue cup and saucer, a milk jug decorated with pale-cobalt and white squares, a vase with a blue and orange pattern on a white ground and a blue majolica pot decorated with pink flowers and greeny brown leaves, the whole upon a blue tablecloth against a yellow background.

There are in addition two oranges and three lemons. The result is a symphony of blue tones, animated by a scale of yellows ranging to orange. And I have another still-life: lemons in a basket against a yellow background. Besides this, a view of Arles. Of the town itself only a few red roofs and a tower are visible, the rest is hidden by the foliage of fig trees, all of it quite in the background, and a thin strip of blue sky above. The town is surrounded by meadows covered with dandelions,{B} a sea of gold. Right in the foreground a ditch which is full of purple irises cuts through the meadows. While I was busy painting this view, the gra.s.s was cut, that is why it is only a study and not the finished picture I intended it to be. But what a lovely theme--eh? A sea of yellow flowers with the reef of purple irises, and in the background the charming little town with its beautiful women!

I grow ever more and more convinced that the pictures which ought to be painted, the pictures which will be necessary and inevitable if painting is ever to attain to the serene heights of Greek sculpture, German music and French fiction, will be beyond the strength of one individual. They will therefore have to be executed by a group of painters, who will collaborate in order to carry out an idea which they hold in common.

Suppose, for instance, that this man were a brilliant colourist who lacked ideas, while another overflowed with a number of perfectly new, harrowing, or charming inspirations, which, however he did not know how to express adequately. This would be a sufficient reason to deplore the absence of _esprit de corps_ among artists, who criticize and persecute one another, though fortunately without being able to exterminate their kind. You probably think this is all very trivial? Who knows? But the thing itself, the possibility of a Renaissance, is surely no trivial matter!

I often feel very sorry that I cannot induce myself to work more at home, from imagination. Imagination is surely a faculty that one should develop; for it alone enables us to create a more inspiring and comforting world than we can apprehend by means of a fleeting glance at reality, which is for ever changing and which vanishes like a flash of lightning. How glad I should be one day to try to paint the starry heavens as also a meadow studded with dandelions in the sunlight. But how can one ever hope to succeed in doing these things unless one resolves to stay at home and to work from imagination?

In painting I observe no system; I lash the canvas with irregular strokes and let them stand. Impasto--bare patches here and there--some places left quite unfinished--others overpainted--brutal touches, and the result is (at least I must a.s.sume that this is so) sufficiently disconcerting and irritating to displease people who have pre-conceived notions about technique.{C}

When I paint direct from nature, I always try to seize what is essential by means of line. Then I fill up the defined s.p.a.ces (whether they have been expressed or not; for they have been felt at all events) with simple flat tones as follows: all ground or soil will contain the same violet tone, practically the whole of the sky will be kept blue in tone, while foliage will be blue-green or yellow-green (either the blue or the yellow may be deliberately intensified) in short, no photographic imitation, that is the chief thing!

Here is a question of technique for you! Just tell me your view of the matter! I wish to put black and white, as I buy them at the colourman?'s, boldly on my palette, and to use them as they are. If in a green park with pink footpaths, I see (please to remember that I have in mind the j.a.panese method of flat simple colouring) a man dressed in black--a magistrate, for instance, reading the "Intransigeant," and the sky above him is pure cobalt, why on earth should I not paint the said legal gentleman in pure black, and the "Intransigeant?" in pure white?

For the j.a.panese pays no heed to the play of light, and paints flat tones one beside the other--characteristic lines, which seize the movement or the form in a simple manner.

Now, apropos of another idea: in a scheme of colour which contains a golden evening sky, for instance, one might at a pinch paint a crude white wall against the sky with pure white, or with the same crude white modified by a neutral tone; for the sky itself will lend it a pale mauve tinge.

In this very simple landscape, consisting of a completely white cottage (even the roof is whitewashed), standing on orange-coloured ground (for the southern sky and the Mediterranean both tend to produce very intense orange colouring, as their blue is very strong), the black note of the door, the window and the small cross on the roof makes a contrast of black and white, which is just as agreeable to the eye as the contrast of orange and blue.

On the same principle, here is another still more amusing theme: a woman in a black and white check dress, standing in the same simple landscape, with the sky blue, and the ground orange. The black and the white can quite adequately play the part of colours (at least, in many cases they may be considered as such), for their contrast is just as piquant as that of green and red, for instance. Moreover, the j.a.panese made use of the same tones; with magic beauty they render the dull pale complexion of a little girl and its fetching contrast with her black hair, by means of four strokes of the pen on white paper; and they do the same thing with their black bramble bushes, which they cover with countless white flowers.

At last I have seen the Mediterranean Sea and have spent a week in Saintes-Maries. I went there in the diligence, via la Camargue, through vineyards and meadows, and across plains, like those in Holland. In Saintes-Maries I saw some little girls who reminded me of Cimabue and Giotto--very much so, in fact; they were thin, rather sad, and mystic.

On the beach, which is quite flat and sandy, I saw a number of green, red and blue boats, which were so delightful both in form and colour, that they made me think of flowers. One man alone can navigate a boat of this sort, but they do not go far out. They only venture into deep water when the wind is low and they return as soon as it rises.

I should also very much like to see Africa. But I will not make any definite plans for the future. Everything will depend upon circ.u.mstances. What I wanted to experience was the effect of a deep blue sky. Fromentin and Gerome see no colour in the South, and a number of others are like them. But good Heavens!--if you take a little dry sand up in your hand and hold it close to your eyes, of course it is colourless, just as water and air would be. There is no blue without yellow and orange, and when you paint blue, paint yellow and orange as well--am I not right?

I feel decidedly better in the South than in the North. I work even during the hour of noon, in the glaring sunlight, without a sc.r.a.p of shade; and, believe me, I feel as happy as a cricket. Heavens! why did I not get to know this country at 25 instead of at 35 years of age! In those days, however, I was mad on grays, or rather on the absence of colour. I always dreamt of a Millet, and had my friends in the artistic circle of Mauve and of Israels, etc.