Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 5, 2025
Subduing a natural irritation, he said: "Are you a judge of pictures?" "Well, I've got a few myself." "Any Post-Impressionists?" "Ye-es, I rather like them." "What do you think of this?" said Soames, pointing to the Gauguin. Monsieur Profond protruded his lower lip and short pointed beard. "Rather fine, I think," he said; "do you want to sell it?"
How far they have gone astray in imitating him is the most significant thing related by Emile Bernard, a friend of Paul Gauguin and a member of his Pont-Aven school. In February, 1904, Bernard landed in Marseilles after a trip to the Orient. A chance word told him that there had been installed an electric tramway between Marseilles and Aix.
Indeed, it is clear that Gauguin and Van Gogh would not have come near achieving what they did achieve achieved, mind you, as genuine painters had they not been amongst the first to realize and make use of that bewildering revelation which is the art of Cézanne. Of that art I am not here to speak; I am concerned only with its influence.
There is strength if not beauty the old canonic beauty and in the place of the latter may be found rich colour. A master of values, Cézanne. After all, paint is thicker than academic culture. I saw the first Paul Gauguin exhibition at Durand-Ruel's in Paris years ago. I recall contemporary criticism.
His colour harmonies are brilliant, dissociated from our notions of the normal. He is a genuine realist as opposed to the decorative classicism of Gauguin. His work was not much affected by Gauguin, though he has been classed in the same school. Cézanne openly repudiated both men.
When he saw Bernard painting he told him that his palette was too restricted; he needed at least twenty colours. Bernard gives the list of yellows, reds, greens, and blues, with variations. "Don't make Chinese images like Gauguin," he said another time.
Subduing a natural irritation, he said: "Are you a judge of pictures?" "Well, I've got a few myself." "Any Post-Impressionists?" "Ye-es, I rather like them." "What do you think of this?" said Soames, pointing to the Gauguin. Monsieur Profond protruded his lower lip and short pointed beard. "Rather fine, I think," he said; "do you want to sell it?"
A copy of the Olympe, by Gauguin, finished about this time, is said to be a masterpiece. But with Degas he was closer than the others. A natural-born writer, his criticisms of the modern French school are pregnant with wit and just observation. What was nicknamed the School of Pont-Aven was the outcome of Gauguin's imperious personality.
Next to Gauguin, among the seniors of the present generation and the successors of Impressionism, should be placed the landscapist Armand Guillaumin who, without possessing Sisley's delicate qualities, has painted some canvases worthy of notice; and we must, finally, terminate this far too summary enumeration by referring to one of the most gifted painters of the French School of the day, M. Louis Anquetin.
He disliked the work of Paul Gauguin and repudiated the claim of being his artistic ancestor. "He did not understand me," grumbled Cézanne. He praised Thomas Couture, who was, he asserted, a true master, one who had formed such excellent pupils as Courbet, Manet, and Puvis. This rather staggered Bernard, as well it might; the paintings of Couture and Cézanne are poles apart.
Word Of The Day
Others Looking