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Updated: September 5, 2025
She had been expected on Wednesday; had wired that it would be Friday; and again on Friday that it would be Sunday afternoon; and here were her aunt, and her cousins the Cardigans, and this fellow Profond, and everything flat as a pancake for the want of her. He stood before his Gauguin sorest point of his collection.
Like Liszt, Cézanne is the progenitor of a school, for Wagner founded no great school as much as he influenced his contemporaries; he was too complete in himself to leave artistic descendants, and Liszt, an intermediate type, influenced not only Wagner but the Russians and the Neo-Frenchman. The greatest disciples of Cézanne are Gauguin and Van Gogh. Mr.
This gift they have in common with the Primitives; and this the douanier possessed in an extraordinary degree. Of Rousseau's sense of the decorative possibilities of paint it is, I suppose, unnecessary to say anything. Gauguin called his black "inimitable."
Any one who has been lucky enough to see it at Durand-Ruel's will cry out at the stupidity which did not recognise a masterly bit of painting with its glowing, nacreous flesh tints, its admirable modelling, its pervading air of vitality. Renoir was never a difficult painter; that is, in the sense of Monet or Manet or Gauguin.
All the then novel theories of plein air impressionism are discussed in the Zola novel, yet the work seems clumsy after Goncourt's Manette Salomon, that breviary for painters which so far back as 1867 anticipated in print, of course the discoveries, the experiments, the practice of the naturalistic-impressionistic groups from Courbet to Cézanne, Monet to Maufra, Manet to Paul Gauguin.
At his best, however, he is a very great impressionist a neo-impressionist, or expressionist if you like but I should say an impressionist much influenced and much to the good, as was Gauguin, by acquaintance with Cézanne in his last and most instructive phase.
"Il nous faut les barbares," said André Gide; "il nous faut les barbares," said we all. Well, here was someone who had gone to live with them, and sent home thrilling, and often very beautiful, pictures which could, if one chose, be taken as challenges to European civilization. To a considerable extent the influence of Gauguin was literary, and therefore in the long run negligible.
At Pont-Aven in 1888, between trips made to Martinique and Provence, Gauguin had attained mastery of himself; Cézanne had taught him simplicity; Degas, his avowed admirer, had shown him the potency of the line; Renoir's warm colouring had spurred him to a still richer palette; and Manet had given him sound advice.
He is the eternal Sphinx of art, whether as portraitist, landscape painter, etcher, or revealer of the night side of life, of its bestiality, madness, cruelty, and terrific visions. But Velasquez and Vermeer are more sane. Anything I may write of Kubin, Munch, and Gauguin should be read in the light of my artistic credo.
Visit of Le Moine; the story of Paul Gauguin; his house, and a search for his grave beneath the white cross of Calvary. I rose one morning from my Golden Bed to find a stranger quietly smoking a cigarette on my paepae. Against the jungle background he was a strangely incongruous figure; a Frenchman, small, thin, meticulously neat in garments of faded blue denim and shining high boots.
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