Almost at the same moment as I was dispatching my studies, Gauguin’s and your parcel arrived. I was overjoyed, my heart became really all aglow when I saw your two faces. Your portrait, as you must know, pleased me greatly. But you don’t require to be told that I like everything you do. Before I came on the scene nobody, perhaps, appreciated your work as much as I do now. Let me urge you to make a special study of portrait painting; work at it as hard as you can and do not give in; we must in time conquer the public by means of the portrait--in my opinion the future lies there. But do not let us become involved in hypotheses.


I have ruthlessly to destroy a large picture of Christ with the angel in Gethsemane, and another representing a poet standing under the starry heavens; for, although the colour was good in both, the drawing was not studied in the first place from the model, which in such cases is essential.

Maybe, my last studies are not impressionistic at all, but that I cannot help. I paint what I paint, in complete subjection to nature, and without thinking of anything else.

I cannot work without models. I do not mean that I never turn my back boldly upon nature ...;{R} but I am frightened to death of losing accuracy of form. Perhaps later on, after ten years of study, I shall try; but really and truly, I am so devoured by curiosity for the possible and the actual, that I have neither the wish nor the courage to seek an ideal which could arise out of my abstract studies. Others may be more gifted for the painting of abstract studies, and you are certainly one of these, as is also Gauguin. Maybe, I shall be the same, some day, when I am old; meanwhile I feed on nature. At times I do indeed exaggerate or alter a theme; but I never invent a whole picture--on the contrary, I actually find it at hand and complete--all I have to do is to extract it from nature.

My house will seem less empty to me now that I have these pictures of you both. How glad I should be to have you here, even this winter! It is true that the journey is rather expensive. But could we not risk the expense and try to recover it by painting? In the winter it is so difficult to work in the North. Possibly it is so here, as well; I cannot speak from experience on this point. I shall have to wait and see; but the better to understand the Japanese it is deuced necessary to know the South, where life is led more in the open air. Besides this, a good many places here have something mysteriously sublime and noble about them, which would please you immensely.

I ought to have sent you some sketches long ago, in return for those you sent me. But just lately, during the lovely weather, I have been wholly occupied by a few canvases about 36 in. by 27½ in. in size,[28] which simply exhaust me, and which I intend using for the decoration of my house.

If your father had a son who sought and found gold in stones or on the pavement, he would certainly not think lightly of this talent. Well, in my opinion, you possess a talent which is, at least, equally valuable. Your father might deplore the fact that what you found was not brand new and glittering gold, already stamped like the coin of the realm; but he would, nevertheless, collect all your findings and sell them only at a good price. Well, then, that is what he should do with your pictures and drawings, which are just as valuable as marketable commodities as stones or metal; for to paint a picture is just as difficult as to find a small or large diamond. At present the world recognizes the value of a gold piece, or of a genuine pearl. Unfortunately, however, those who paint pictures and those who believe in the painting of pictures, are extremely rare. Still there are a few such people, and in any case we cannot do better than bide our time patiently, even though we have to wait a long while.

The idea of forming a sort of freemasonry among artists does not please me particularly; I am a great enemy of all regulations and institutions, etc. I am in search of something very different from dogmas, for they never by any chance set things in order, and only lead to endless disputes. That is a sign of decay. As, for the present, a union of painters exists only in very vague outline why not leave things as they are at least provisionally? It is much nicer when an organization of the sort we have in our minds crystallizes all of its own accord. The more things are discussed, the less will be done. If you wish to take a part in helping the cause, all you have to do is to continue working away with me and Gauguin; the affair is now started; do not let us say a word more about it. If it is to come it will do so without any elaborate negotiations, but simply by means of calm and well-considered action.


I am sending five studies, and must also include at least two attempts at somewhat more important pictures--a portrait of myself and a landscape painted in a most terrible north wind. There are also a study of a small garden with flowers of all colours, a study of grey, dusty coal, and finally another still life, “A Pair of Peasant’s Shoes,” and a little landscape, a trifle, just a small stretch of country.

In the event of these studies not meeting with any appreciation, and one or the other of our friends not being able to take a fancy to any of them, please keep those that are liked and return the others together with the pictures sent in exchange for those that are retained.

There is no hurry, and when business is done by barter, it is but right and proper for both sides to try and offer only good work.

If in the morning it is sufficiently dry to be rolled up, I shall also send you a landscape containing figures unloading sand, and in addition to that the rough sketch of a picture which is full of a mature will.


What about the gentleman so diligently engaged in art whom I found in your last letter, and who looked so like me--was he supposed to be me or somebody else? As far as the face is concerned he looks very like me; but in the first place I always smoke a pipe, and then I positively dread sitting on a thin ledge of rock overlooking the sea, for I suffer from giddiness. In the name of these presents I therefore protest most solemnly against the other resemblances I have already mentioned.{S}


The decoration of my house is absorbing me entirely, and I hope and believe that it will be very tasteful even if it be very different from everything you do.

That reminds me that on one occasion some time ago you spoke to me of certain pictures which were to represent flowers, trees, and fields, respectively. Now I have the “Poet’s Garden” (two canvases), the “Starry Night,” the “Vineyard,” the “Furrows,” the “View from my House,” which might also be called “The Street.” As you see, without any intention on my part, a certain natural sequence seems to connect them together.

I should be very curious to see sketches of Pont-Aven; but you must send me a more finished study. You are, however, sure to do everything in the best possible way; for I am so fond of your talent that in time I shall make quite a little collection of your works. I have always been very much moved by the thought that Japanese artists often bartered their pictures among themselves. That does indeed show that they loved one another and were united, that a kind of harmony prevailed among them, and that they lived in brotherly concord instead of in intrigues. The more we resemble them in these things the more we shall prosper. It also appears that a few of these Japanese artists earned very little money and lived like simple workmen. I have the reproduction of a Japanese drawing (Bing’s publication) representing a single blade of grass. What a paragon of conscientiousness it is! I shall show it to you when I get the chance.


What surprised me in your letter were your words: “Ah, as for painting Gauguin’s portrait--that is impossible!” Why impossible? That’s all nonsense. But I will not press you further. And has not Gauguin, for his part, ever thought of painting your portrait? You are a funny pair of portrait painters, I must say! You live all day long shoulder to shoulder and cannot even agree so far as to act as each other’s models. The end of it will be that you will part without having painted each other’s portraits. All right, I will not urge you any more. But I hope that one day I shall be able to paint both your portrait and Gauguin’s. I shall do it as soon as we all come together, which is sure to happen some day.


Whereas the finest plans and calculations so often come to naught, if only one work on the off chance and take advantage of the happy accidents the day brings with it, one can accomplish a host of good and astonishing things. Make a point of going to Africa for a while--you will be enraptured with the South, and it will make you a great artist. Even Gauguin is greatly indebted to the South for his talent.{T}

For many months now I have been contemplating the strong sun of the South, and the result of this experiment is that, in my opinion, and chiefly from the standpoint of colour, Delacroix and Monticelli, who are now wrongly reckoned among the pure romanticists and the artists with fantastic imaginations, are entirely justified. Think of it, the South which Fromentin and Gérome have depicted so dryly, is even in these parts a land the intimate charm of which can be rendered only with the colours of the colourist.


In my sketch of “The Garden,” there may be something like _Des tapis velus--de fleurs et verdure tissus_. I wished to reply to all your quotations with the pen, even if I dispensed with words. My head does not feel very much like discussing to-day; I am head over ears in work. I have just done two large pen-drawings, for instance, a bird’s-eye view of an endless plain seen from the top of a hill: vineyards, and fields of stubble reaching to infinity, and extending like the surface of the sea to the horizon, which is bounded by the hills of _La Crau_. It does not look Japanese, and yet, truth to tell, I have never painted anything so essentially Japanese. A tiny figure of a labourer and a small train running through the cornfields, constitute the only signs of life in the picture. Think of it! on one of my first days at this place, a painter friend of mine said to me: “It would be absurdly tedious to paint that!” I did not attempt to answer, but thought the spot so beautiful that I could not even summon the strength to upbraid the idiot. I returned to the locality again and again, and made two drawings of it--this flat stretch of country which contains nothing save infinity, eternity. And then, while I was drawing, a man walked up to me--not a painter this time, but a soldier. “Does it surprise you,” I asked him, “that I should think this as beautiful as the sea?” “No, it does not surprise me in the least that you should think this as beautiful as the sea,” came the reply (the fellow knew the sea, by-the-bye); “for I think it even more beautiful than the ocean, because it is inhabited.”

Which of the two men understood the most about art, the painter or the soldier? According to my way of thinking, the soldier did; am I not right?


I want to paint humanity, humanity and again humanity.

I love nothing better than this series of bipeds, from the smallest baby in long clothes to Socrates, from the woman with black hair and a white skin to the one with golden hair and a brick-red sun-burnt face. Meanwhile I am painting other things.

But among my studies I have one of a figure which is a perfect continuation of my Dutch pictures. On one occasion I showed these to you, together with various other pictures of my Dutch days, the “Potato-Eaters,” etc., and I should like you to see these as well. They are all studies in which colour plays such an important part that the black and white of a drawing could not give you any idea of them. I had actually thought of sending you a very large and careful drawing of the one in question. But, however accurate it might be, it would result in something totally different; for colour is the only thing that can suggest the effect of the hot parched air of a midsummer’s day at noon, in the midst of harvest-making; and if this effect is lacking, the whole picture is altered. You and Gauguin know what a peasant is, and how much of the beast must lie in his constitution if he belong to the right race.

Oh, how the gorgeous sunlight gets to one’s head here in the country! I do not doubt but what it can drive a man a little crazy. As, however, I was already a little inclined that way, now I have only the enjoyment of it.

I am thinking of decorating my studio with half a dozen sunflowers. It will be a decorative effect in which the glaring or broken tones of chromes will stand out vividly against a background of variegated blue, ranging from the most delicate emerald green to royal blue, enclosed in narrow strips of golden yellow. It will produce the sort of effect that Gothic church-windows do.

Oh we crazy-pates! What joys our eyes give us--don’t they? Nevertheless nature takes her revenge on the animal in us, and our bodies are pitiable, and often a terrible burden. This has been so ever since the time of Giotto, who was a sickly sort of man. But what a delightful sight and what amusement we get from the toothless laughter of that old lion, Rembrandt, with a cloth round his head and his palette in his hand.

FURTHER LETTERS TO HIS BROTHER

The city of Paris does not pay. It would break my heart to see Seurat’s pictures buried in a provincial museum or in a cellar; they ought to remain in living hands. If T. were only willing!...

If the three permanent exhibitions are established an important work of Seurat’s will be required for each of the following places--Paris, London and Marseilles.

How kind it is of you to promise G. and myself to make the realization of the projected union a possible thing! I have just received a letter from B., who for the last few days has been on a visit to G., L., and another man in Pont-Aven. In this letter, which, by-the-bye, is very friendly in tone, there is not a single word about G.’s having the intention of joining me here, nor is there any hint that they are expecting me there. Nevertheless the letter is a very friendly one. I have not received a line from G. himself for a month. I really believe that G. prefers to come to an understanding with his friends in the North, and if he have the good fortune to sell one or more pictures, he will probably no longer wish to join me here.

Whether G. comes or not is his affair; for, provided that we are ready to receive him, and that his bed and his quarters are prepared, we shall have kept our promise. I insist upon this, because, in so doing, my object is to release myself and a friend from the evil that thrives on our work, and that is the necessity of living in expensive hotels without our deriving any advantage from the arrangement--which is sheer madness. The hope of being able to live without money troubles, and of one day escaping from these eternal straits--what a foolish illusion this is! I should consider myself lucky to be able to work even for an annuity which would only just cover bare necessaries, and to be at peace in my own studio for the rest of my life.

Now it is definitely decided that I shall not go to Pont-Aven if I have to live in an hotel with these Englishmen and men of the _Ecole des Beaux Arts_, with whom one has to argue every evening--much ado about nothing!

This morning I was working at an orchard gay with plum-blossom, when suddenly there came a gust of wind and with it a peculiar effect which hitherto I had not observed in these parts, and which recurred from time to time. Now and again a shaft of sunlight would pierce the clouds and set all the little white blooms aglow--it was too beautiful for words! My friend the Dane joined me, and, at the risk of seeing all my paraphernalia fall to the ground at every gust of wind, I continued to paint. In this white light, there is a good deal of yellow, blue and mauve; the sky is white and blue. But what will people say of the execution when one works in the open air in this way? Afterwards I thoroughly regretted not having ordered my colours at dear old Tanguy’s; not that I should have gained anything, but he is such a comical little body! I often think of him. Do not forget to remember me to him when you see him, and tell him that if he would like some pictures for his shop-window, he can have some--and of the best.

Oh dear! It seems ever more and more clear to me that mankind is the root of all life. And even if the feeling that one has no share in real life remains a melancholy one (for it would surely be preferable to deal with living flesh and blood than with colour and clay, and one would sooner beget children than work at art or at the commerce of art), one feels notwithstanding that one does at least live, for among one’s friends are there not numbers who also have no share in real life? We should try to do the same with business matters as with the human heart--that is to say, acquire or revive friendships{U}. As we no longer have anything to fear in regard to the ultimate fate of Impressionism, and as our victory is assured, we should behave decently and settle everything with calmness.


I cannot help thinking of Marat as the equivalent of Xanthippe in a moral sense (even though he be more powerful). That woman with the embittered heart remains, in spite of all, a stirring figure.

You were right to order from the colourman’s the geranium lake which I have just received. All the colours that Impressionism has brought into fashion, are rather prone to lose some of their strength. That is why they should be laid on boldly and glaringly; for time will be sure to deaden them more than necessary.

Not one of the colours I have ordered: three chromes (deep, medium and pale), Prussian blue, veridian, emerald green etc.{V} is to be found on the palettes of the Dutch painters Maris, Mauve and Israels. On the other hand they were on Delacroix’ palette, as he had a passion for the most prohibited colours--lemon yellow and Prussian blue; and with very good reason, for to my mind he created really magnificent things with this lemon yellow and blue.


Now I must tell you that I am working at two pictures of which I wished to make copies. The pink peach tree gives me most trouble.

You observe, from the four squares on the back, that the three orchards are more or less related. I am now painting an upright of a small pear-tree, which will be flanked by two landscape-shaped canvases.[29] Altogether, then, that will make six pictures of orchards in blossom, and I hope that there will be three more to come, also related to each other in character. I should like to paint this series of nine pictures together. There is nothing to prevent us from regarding the nine pictures of this year, as the first rough plan of a final and much larger scheme of decoration which will have to be carried out at the same time next year, according to exactly the same themes.


My drawings are done with a reed which is cut after the manner of a goose quill. I am thinking of doing a series of them, and hope the others will be better than the first two. That is my method. I had already tried it in Holland; but there I had not such good reeds as I have here.

Do you remember, just before my departure, our speaking about the Universal Exhibition and the fact that, in connection with it, Bouguereau, Lefèbvre, Benjamin Constant and the whole set intended going to Boussod’s to make a complaint and to insist upon the firm B.’s (the first in the world) unflinchingly adhering to the principles of the highest and only desirable art (naturally their own art). And the upshot of it is, that we must be very careful; for it would be more than sad if you were to quarrel with these gentlemen. When one is released after having spent a long time in prison, there are moments in which one yearns for the walls of one’s cell again, simply because one is no longer quite at home in a state of freedom--probably so called owing to the fact that the exhausting hunt after daily bread does not leave one a moment of liberty.

But you yourself know all this as well as I do, and you will have to forsake a good many things in order to attain to others.


Is it not true that Daumier is hung in the Beaux-Arts and Gavarni as well? Bravo to Daumier, but by no means to the Beaux-Arts!

I grow ever more and more doubtful about the legend concerning Monticelli, who is said to have drunk such great quantities of absinthe. With his life-work before one, it seems to me impossible that a man enervated by drink could possibly have produced such work.


In a day or two you will receive a call from the Danish painter who has been staying here. He wishes to see the Salon and then to go back home, perhaps with the view of coming South again next year. His three last studies were better and more full of colour than anything he has done hitherto. I do not know whether he will ever do anything great, but he is a nice fellow, and I am sorry he is going. I told him that a Dutch painter is staying with you, and if K. would only conduct him up to the Butte Montmartre, he would probably make a few studies. I have told him a good deal about the Impressionists, all of whom he knew by name, and he was also acquainted with some of their pictures. The question interested him immensely. He has a letter of introduction to R. He recovered his health here and now feels uncommonly well. It will last for two years, and then he will be wise to come back here for the same reasons of health.

What is the new book like, about Daumier, the Artist and his Work?

According to what you say, I hope that I will shortly come to Paris. In the circumstances which you have mentioned, it would be a real stroke of luck, now that everything is going to the dogs, and they are not doing well.

Possibly it would be easier to bring a few picture-dealers and amateurs to an understanding with the object of buying impressionist pictures, than to get the painters to divide among themselves the proceeds of the pictures sold. And yet the artists could not do better than to stick together, hand their pictures over to the association and share the proceeds of the sales, if only for the reason that the society guarantees the means of work and existence to its members. Degas, Claude Monet, Renoir, Sisley, C. Pissaro should take the initiative and say: Each of us five will give ten pictures (or better still, each of us will contribute works to the value of 10,000 francs, which value must be decided by experts--for instance, by T. and you--whom the society would appoint. And these experts would also have to invest in pictures). In addition to that we undertake to make a yearly contribution to the value of so much. And we invite you all, Seurat, Gauguin and Guillaumin to join us, and the value of your pictures will be assessed by the same jury.

By this means the great Impressionists of the Grand Boulevard would preserve their prestige, and the others would not be able to reproach them with enjoying alone the advantages of a reputation for which there can be no doubt they are indebted, in the first place, to their personal efforts and their individual genius--but which in the second place is also increased, consolidated and maintained by a regiment of artists who up to the present have been in constant straits for money. It is only to be hoped that something will come of it all, and that T. and you will be chosen as experts (together with Portier perhaps). You, too, must surely be of the opinion that if T. and you join together you could persuade both Boussod and Valadon to grant credit for the necessary purchases. But the matter is pressing, otherwise other dealers will cut the grass from under your feet.


There are several themes here which have exactly the same character as in Holland: the only difference lies in the colour. Everywhere a cadmium yellow, produced by the burning sun, and in addition a green and blue of such extraordinary intensity! I must say that the few landscapes by Cézanne which I happen to have seen, give an excellent idea of it; but it is a pity I have not seen more of them.


I think you are quite right to take the “Books” to the “Indépendents” also; you ought to call this study “Paris Novels.”

I should be so glad if you could succeed in convincing T.! But only have patience! Every day I think of this artists’ union, and the plan has developed further in my mind; but T. ought really to belong to it, and much depends upon that. For the moment the artists might possibly be convinced by us; but we can proceed no further without T.’s help. Without him we should have to listen to every one’s complaint from morning till night; and then every member would come singly to ask for explanations concerning the rules{W}.

I think that, on the whole, I live like a workman here and not like an effeminate foreigner who is travelling for pleasure; and I should show no strength of will at all if I allowed myself to be taken advantage of as he does. I am beginning to set up a studio which will be able to serve the purpose of local painters or of friends who come this way.


I believe that you will soon make a friend of my Dane. It is true that he has not yet done anything good; but he is clever and his heart is in the right place, and he has probably begun to paint only quite recently. Do please avail yourself of a Sunday to make his acquaintance.

Do you know G.’s expression when he compresses his lips and says “no women?” That would make a fine Degas head. It cannot, however, be gainsaid; for to spend one’s whole day at mental work, reckoning and meditating and thinking over business, is in itself enough for the nerves.


In the midst of an artistic life there arises again and again the yearning for _real_ life, which remains an unrealizable ideal. And often enough the desire to devote one’s self completely to art, with ever fresher strength, entirely disappears. One feels exactly like an old cab horse, and one knows that one must always return to the same old shafts when all the while one would so love to live in the fields, in the sun, near the river, in the country, with other horses, also free, and have the right to procreate one’s kind. And I should not be at all surprised if this were whence the heart trouble comes. One offers no resistance, neither does one resign one’s self; the fact is, one is ill; the thing will not go away of its own accord, and yet there is no remedy for it. I really do not know who called the state “a case of death and immortality.”


The cart one draws must be useful to people whom one does not know. If we believe in the new art, and in the artists of the future, our presentiment does not deceive us. Shortly before his death good old father Corot said: “Last night in my dream I saw landscapes with pink-coloured skies.” And, as a matter of fact, are not pink and even yellow and green skies to be found among impressionist landscapes? This is only to show how many things of whose coming one has a presentiment, actually do come to pass in the future. We do not, however, yet stand on the edge of the grave, and we feel that art is greater and longer than our lives. We do not feel moribund, but of little account; and in order to be a link in the chain of artists we pay a heavy price in youth, health, and freedom. And we no more enjoy the latter than the poor cab-horse does, that has to convey people, who wish to enjoy the spring, out into the open country. That hope of Puvis de Chavannes’ should and must be realized: there is an art of the future, and it must be so beautiful and so young that even if we now sacrifice our own youth to it, we must make up our loss in the joy of living and in peace.{X}


I do not see the future black, but full of difficulties, and often I ask myself whether these will not prove stronger than I. This thought occurs chiefly in times of physical weakness, as for instance, during the week when I suffered so infernally with toothache that I was forced to waste time. Nevertheless I have just dispatched a roll of small pen-and-ink-drawings to you--I think about a dozen--and from these you will be able to see that even if I have ceased from painting, I have not given up work. Among them you will find a rapid sketch on yellow paper; a stretch of grass on the open space at the entrance of the town, and in the background a house, of which I have rented the right wing (four rooms, or rather two rooms and two little closets). The house is painted yellow outside and whitewashed within. It stands right in the sun and I have taken it at a rental of fifteen francs a month.


If our hopes do not prove false--which I am convinced they will not--and the impressionist pictures rise in price, we ought to paint a large number and avoid selling them too cheaply. This is one more reason for being careful of the quality and for losing no time. Then in a few years I see the possibility of holding the disbursed capital, if not in money, in any case in treasure, in our own hands.


I am convinced that in this place nature seems to have been made for the very purpose of being painted chromatically, and that is why the chances of my ever being led away from the spot, grow fewer every day.


The studio is in such a prominent position here that I do not think my establishment is likely to attract any female; and an affair with a petticoat might too easily lead to a binding relationship. Moreover, it seems to me as if the morality here were far more human and natural than in Paris. But with my temperament it would be impossible to lead a loose life and to work as well, and circumstances being as they are, one must be content to paint pictures, which is by no means real happiness or real life. But, after all, even the artistic life, though we know it is artificial, seems to me so vigorous and vital, that we should be ungrateful not to be satisfied with it.


At Claude Monet’s you will see some beautiful things, and what I am sending you will appear bad beside them. I am dissatisfied with myself and with my work; but I see the possibility of doing better in the future. Later on, I hope that other artists will appear in this beautiful land, who will create an art like that which the Japanese have created in their own country; and to pave the way to this is not so bad after all.

I feel certain that I shall always love the scenery of this place. It is like Japanese art, once it has found a place in one’s heart one can never cast it out.{Y}


The other day I received a visit from M. K., R.’s friend, who, by the by, came back last Sunday. I must really call on him one day, and look at his work; for I have not yet seen anything he has done. He is a Yankee who probably does better work than most of his countrymen; but in spite of it all--a Yankee! Does that not cover everything? I shall be able to judge of his capacities only when I have seen his pictures and drawings.


It seems to me as if Messrs. B. and V. cared nothing for the good opinion of artists. But, to be quite open, I thought the news was bad, and I could not help breaking into a cold sweat on hearing of it. I have been thinking about it ever since; for this conversation with the said gentlemen is to a certain extent a symptom of the fact that Impressionism has not taken deep enough root.

As for me, I immediately stopped painting pictures, and continued work upon a series of pen-drawings; for, I said to myself, a breach with these gentlemen might make a reduction in my expenses a desirable thing from your point of view. I am not so very much attached to my pictures, and will drop them without a murmur; for, luckily, I do not belong to those who, in the matter of works of art, can appreciate only pictures. As I believe, on the contrary, that a work of art may be produced at much less expense, I have begun a series of pen-drawings.


The people here take too much advantage of the fact that with my canvases I need a little more room than other customers, who do not happen to be painters, and they improve the occasion by extorting exorbitant payments from me.... It is always a nuisance to have to cart all one’s materials and pictures about with one, and it considerably impedes one’s movements.


Very often I am obsessed by the discomfiting feeling that we are both being duped by Messrs. B. V. and Co. But I try to quell this feeling.{Z} Above all, do not let them make you their dupe.... This is enough for to-day.


Do you know what I think, on the whole, of the women of Arles, and of their much vaunted beauty? They are certainly very attractive; but they are surely no longer what they must have been. And as their race is degenerating they are now much more like a Mignard than a Mantegna. Nevertheless they are beautiful (I here refer only to the Roman type, which is somewhat monotonous and trivial) and by way of exception there are women like those whom Renoir and Fragonard paint, and some who cannot be classified according to any school of painting of the past. Taking all these facts into consideration the best thing to do here would be to paint portraits of women and children. But--I do not feel that this is my allotted task--I am not enough of a “Bel-Ami” for the work. But I should be mightily glad if this Bel-Ami of the South (Monticelli was not the man, although he prepared the way for him, and I feel that he is in the air, even if I myself am not the man)--I should be mightily glad, I say, if an artist could be born among painters, such as Guy de Maupassant was among writers, who could joyfully paint the beautiful people and things which are to be found here. As for me, I shall go on working, and now and again I shall paint something lasting. But who is going to paint men as Claude Monet painted landscapes? Be this as it may, you must feel the same as I do about it--it is in the air.

Rodin? He is no colourist. He is not the painter of the future. For the painter of the future will have to be a colourist such as has never yet been seen. Manet prepared the way for him; but you know that the Impressionists have already shown themselves even stronger than Manet in their colour. I cannot imagine this painter of the future leading the life I lead. He would not have to go to small restaurants, wear false teeth and visit third-rate cafés frequented by Zouaves.{AA} But I have a feeling that all this will come in a later generation. And we must do all we possibly can to promote its advent, without doubting or flinching.


I have just read Zola’s “Au Bonheur des Dames” again; and it seems to me more beautiful every time.

I am writing to you again to-day, because, when I wanted to pay my bill at my hotel, I again discovered that I had been robbed. I suggested an arrangement which, however, has not been accepted, and when I wished to remove my things they refused to allow me to do so. “Very well,” I said, “we shall discuss the matter before the Justice of the Peace” (where I shall probably be declared in the wrong). Now I must retain enough money to be able to pay in the event of my being held to be wrong--67·40 francs instead of 40 francs, which is the sum I owe. A thing that often makes me feel sad is that living is dearer here than I had reckoned, and that I cannot manage to subsist on the same amount as our friends in Brittany. But now that I am feeling better I refuse to think that I am defeated. After all, you have not yet seen any of my work here, and I have already spent a good deal of money. I am therefore sending you a case containing all the work I have done, with the exception of one or two studies which I had to destroy. I have not signed them all; a dozen of them are off their stretchers, and fourteen of them are still stretched. One is a little landscape with a white, red and green cottage, and a cypress. You have the drawing of that one, and I painted it all in my studio. It will show you that if you like I can paint you small pictures, after the manner of crape prints,[30] from all my drawings.


Meanwhile I must pay my hotel bill, but there is a note upon it to the effect that the payment is being made only in order that I may recover possession of my things, and that the exorbitant charges will be laid before the Justice of the Peace. But with all this I have scarcely a halfpenny left. It is very annoying, for this business interferes considerably with my work, and it is very beautiful out of doors just now.

Strangers are bled in these parts; on the other hand the natives are quite justified in regarding them as fair game and in extorting as much as possible from them. But it is discouraging to work hard and to see how the money pours into the pockets of people one abhors. But we must put a stop to it. I am going to set up a studio here which is to be more than a temporary affair, and in which, if necessary, I shall be able to accommodate another painter. It is cheaper to live right in the heart of the country, like M. K., but he is exceedingly lonely, and up to the present has done very little work. In that case it is better to work hard and to pay more, if there is no other way out of it.

If you will lay aside the best pictures in the batch I have sent you and regard them as in part payment of my debt to you, on the day when I shall have sent you 10,000 francs in pictures, I shall feel much more at ease. The money already spent during former years must return our way, at least in the form of articles of value. It is true that I am still very far from having achieved all that is necessary; but I feel that in the midst of the beautiful scenery here, everything is at hand to make me do good work. It will only be my fault, therefore, if I do not succeed. You once told me that in the space of one month Mauve had painted and sold 6000 francs’ worth of water-colours. So such strokes of luck are possible, and in spite of all my monetary troubles I do not see why they should not happen to me.

In the batch I am sending you there are the “Pink Orchard,” painted on coarse canvas, the “White Orchard” (landscape shape);[31] and the “Bridge.” I am of opinion that these pictures will rise in value later on. And fifty or so pictures like these would compensate us for the small amount of luck we have had hitherto. Take these three pictures for your collection and do not sell them; for later on each one of them will certainly fetch 500 francs. I shall begin to breathe freely only when we have collected fifty such pictures.


Just a few lines to tell you that I have called upon the gentleman whom the Jew in “Tartarin” called the “Zouge de paix.” I have, at least, saved twelve francs, and my landlord was reprimanded for having detained my box despite the fact that I had not refused to pay. It would have been very disastrous for me if the other party had won his case, for he would certainly have told everybody that I could not, or would not, pay, and that he was compelled to detain my box. As it was, however, when we were walking out of the place together, he said to me that the whole thing had happened in a moment of anger, and that he had no intention of offending me. Of course this was precisely what his object had been, for he had probably seen that I had had enough of his place and did not wish under any circumstances to remain a day longer in it. In order to obtain the reduction which was actually due to me I ought probably to have claimed very much more. You can well understand that if I were to allow anybody and everybody to do as they pleased with me, I should soon be robbed of my last farthing.{BB}


TO E. BERNARD.

My brother wrote to me the other day saying that you intended coming here to have a look at my pictures. From this I gather that you are back, and I am very glad that you should have thought of coming down here to see what I have done. I, for my part, am very keen to see what you have brought back from Pont-Aven. My head is not in a fit state for writing, but I feel so out of it because I have not the least idea what you, Gauguin and the others are doing. I must, however, be patient. I still have about a dozen studies here, which are possibly more to your taste than the others painted in the summer, which my brother must have shown you. Among these studies there is one of an entrance to a quarry: light mauve-coloured rocks on a ruddy soil, such as one very often sees in Japanese drawings. In regard to the drawing and the division of the colours over large surfaces, it bears some relation to your things from Pont-Aven. In these last pictures I show more self-mastery, because while painting I felt much stronger. For instance, there is a canvas about 36 in. by 27½ in. among them of a ploughed field painted in a broken mauve tone, with a background of hills which reach right up to the edge of the frame. Thus it contains nothing save rough ground and rocks with a thistle and dry grasses in one corner; by way of a figure there is a little violet and yellow man. I trust that this will prove to you that I am not yet effete.

Heavens! what a miserable little stretch of country this is! It is all very difficult to render, especially if one wishes to bring out its intimate character, and make it not merely approximately right, but the genuine soil of La Provence. To accomplish this one must work hard, for the qualities to be seized are naturally a little abstract. It is a matter, for instance, of giving the sun and the sky their proper strength, and the scorched and melancholy soil its glow and its subtle scent of thyme.


The olive trees here are really just what you would like. I have not been lucky with them this year; but I have quite resolved to tackle them again. They are fine silver on orange-coloured or violet-blue ground, beneath the broad blue heavens. I have seen olive trees by certain painters, and by myself as well, which do not give this effect at all. This silver grey is pure Corot, and what is still more important, it has not been painted yet; whereas various artists have already been successful with apple-trees and willows. There are also relatively few pictures of vineyards, which are nevertheless so variegated in their beauty. There is quite enough here to keep me busy.

By-the-bye, there is something which I am very sorry not to have seen at the exhibition--a series of dwellings from all lands, organized I believe by Garnier. Do you think you could give me an idea, or better still, a coloured sketch of a primitive Egyptian house, for you surely must have seen the exhibition. It must be quite simple: a rectangular block on a sort of terrace; but I would give anything to know the colour. I read in a certain article that it was blue, red, and yellow. Did you notice this? Please do not forget to give me details about it.... I for my part know nothing more delightful in the way of architecture than the peasant’s cottage, with its moss-clad thatched roof and its smoke-blackened hearth. As you see, I am very exacting. In an illustrated work I saw a sketch of some old Mexican houses which also seemed to me very primitive and beautiful. Oh, if one could only know all about those times, and could paint the people that lived in those houses, the result might be pictures as beautiful as Millet’s. After all, everything we really know for certain, at present, is to be found in Millet, not perhaps in the colour, but in the character, in the content--that is to say, in something which is animated by a strong faith....

I trust you will have another look at my pictures when I send my autumn studies in November; if possible, let me know what you have brought with you from Brittany; for I am anxious to know which of your works you yourself think the most highly of. And then I shall quickly reply.

I am at work on a big picture, a quarry. As a matter of fact it is exactly the same theme as that study which I have of yours with the yellow tree. It represents the lower portions of two mighty rocks, with a little spring of water running between them, and in the background there is a third mass of rock which closes in the quarry. Such themes are seductively melancholy, and it is so amusing to paint in thoroughly wild scenes where one has to fix one’s easel deep down in the stones to prevent the wind from blowing everything over.


1890.

When Gauguin was at Arles I allowed myself, as you know, to be led into working from imagination, and I painted a woman in black reading a novel. At that time I thought that working from imagination was very delightful. But, my dear friend, it is an enchanted land, and suddenly one finds oneself confronted with an insurmountable wall. Maybe after a life spent in manly effort and endeavour, and after a hard struggle shoulder to shoulder with nature, one might venture to try it; but for the present I shall not crack my brains over it, and I have slaved all the year round painting from nature, and thinking neither of impressionism nor anything else. And yet, in spite of it all, I let myself go again, but it only resulted in another failure, and I have had enough of it. For the time being, therefore, I am working at the olive trees, and trying to seize the various effects of the gray sky over the yellow ground, together with the black and green note of the foliage, or of the deep violet ground and foliage against a yellow sky, or again, of the yellow-red ground against a pale green and pink sky. After all, these things interest me more than the abstractions referred to above. If I have not written for so long, it is because I had no wish to enter into any discussion, and scented a danger in all this reflection, inasmuch as I must guard against my illness and keep my head calm. By dint of quiet and steady work, the subjects will come of their own accord. The chief thing is to strengthen one’s self entirely through reality, without any pre-conceived plan and without any watchword hailing from Paris. By-the-bye, I am very dissatisfied with this year’s work; maybe, however, it will prove a sound foundation for what is to come. I have allowed myself to be completely saturated with the air of the hills and of the orchards; time will show what this has done for me. The whole of my ambition is at present concentrated upon a little handful of earth, sprouting corn, an olive garden, a cypress (the latter, by the way, not easy to paint).

Here is the description of a picture which now lies before me (a view in the park belonging to the Hospital for Nervous Diseases of which I am now an inmate): to the right, a grey terrace, a piece of wall and a few faded rose-trees, to the left the park ground (English red) the soil of which is scorched by the sun and covered with pine-needles. The edge of the park is planted with tall pine-trees, the trunks and branches of which are English red, and the green of which is all the more vivid for having a touch of black. These trees stand out against the evening sky, the yellow ground of which is streaked with violet stripes. Higher up the yellow shades off into pink and then into green. A low wall, also English red, obstructs the view and is overtowered only at one spot by a little violet and yellow-ochre hill. The first tree has a gigantic trunk which has been struck and split by lightning; one side branch alone still projects high up into the air, and lets showers of dark green needles fall down. This gloomy giant--a vanquished hero--which one can regard as a living being, is a strange contrast to the pale smile of a belated rose that is fading away on a rose bush right opposite. Under the pines there are some lovely stone seats and dark box-trees. The sky produces yellow reflections--after a shower--in a pool of water. In a ray of sunshine--the last reflection--the dark yellow ochre is intensified to a glowing orange. Dark figures steal in and out between the tree trunks. You can well imagine that this combination of red ochre, of green bedimmed with grey, and of black lines, defining the forms, may help to call forth that feeling of fright which often seizes many of my fellow-sufferers. And the theme of the great tree struck by lightning, and the sickly smile of that last autumn bloom in green and pink, enhanced this effect. Another picture represents a sunrise over a field of young corn, the converging lines of the furrows rise in the picture as far as a wall and a row of mauve-coloured hills--the field is violet and yellow-green. The glaring white sun is encircled by a large yellow halo. In this picture, I tried, as a contrast to the other, to express repose and perfect peace. I have described these two pictures to you, in order to show you that one can give the impression of fear, without going direct to the historical Gethsemane, and that one can paint a comforting and gentle subject without depicting the chief actors in the Sermon on the Mount. It is unquestionably a good and proper thing to seek inspiration in the Bible, but modern reality has taken such possession of us that even if we try to divorce ourselves from it, in order to revive the old memory of former days, the incidents of our life tear us from such considerations, and our individual experiences again fill us with personal sensations of joy, vexation, suffering, anger or laughter. Heavens! the Bible! Millet was brought up on it entirely in his childhood, and read nothing else; and yet he never, or scarcely ever painted real Biblical subjects.

Corot painted Christ in an olive grove with the shepherds’ star, and it was sublime; in his works one feels the spirit of Homer, Virgil, Aeschylus and Sophocles and often of the Gospels; but only discreetly suggested; for modern sensations, which are possible and common to us all, always preponderate. Even if painting be detestable and much too full of hardships nowadays, he who in spite of all chooses this craft must on that very account be a man full of devotion and firmness. Society so often makes our life very hard indeed, and that is the cause of our shortcomings and of the imperfection of our work{CC}.... I suffer very much from having absolutely no models; but on the other hand there are some beautiful landscape subjects here.


Have you seen a study of mine of a small reaper, a yellow cornfield and a golden sun? Although I did not solve it, I at least attacked the infernal question of yellow in this picture. I speak of the study painted in impasto, which I did direct from nature, not from the copy, which is painted in diagonal brush-strokes and in which the effect is very much weakened. I wanted to paint it in pure cadmium{DD}.


MORE LETTERS TO HIS BROTHER

During the journey I thought just as often of you as of the new country through which I was travelling, and I said to myself, that later on you would perhaps come here frequently. It seems to me almost impossible to work in Paris, if one has not got at least a haven of refuge, where one can rest and recover one’s calm and one’s self-reliance. Otherwise one must become quite stupefied.

Before I reached Tarascon I saw a beautiful landscape: mighty yellow rocks with remarkably complicated lines and imposing forms; in the narrow coves between them there were a number of small round trees standing in rows, and to judge from their grey-green foliage they must have been lemon trees.

Here in Arles the ground is a magnificent red colour and is planted with vineyards. The background of the hills is of a delicate mauve, and many a stretch of the country lying under the snow, together with the white peaks, against a sky as luminous as the snow itself, looked like the winter landscape of the Japanese.

For the present I do not find living as inexpensive here as I hoped it would be; but--I have finished three studies--a feat which would probably have been impossible in Paris just now.

As for the Impressionists, I should think it right and proper if they were introduced into England if not directly through you, at least through your agent.

It seems to me as if my blood were beginning to circulate a little more actively. As this was not the case during the latter part of my time in Paris, I literally could not hold out any longer.

I was hoping to be able to paint a beautiful blue, and I do not yet despair of doing so; for in Marseilles one ought surely to be able to obtain the raw materials first hand. I should like to procure the sort of blue that Ziem paints, which is stronger and more decided than that of other painters.

The studies I now have are: “An Old Woman of Arles,” “A Snow Landscape,” “A Piece of the Street with a Pork-Butcher’s Shop.” The women here are really beautiful. I say this in all sincerity. On the other hand, the Arles Museum is appalling, and it is such a piece of humbug that it would be much more at home in Tarascon. I have also seen a museum of antiquities--the latter were genuine.


The draft of your letter to T. is perfect. I trust that in copying it you did not water it down too much. It seems to me that your letter to T. completes the one I wrote; as I was very much annoyed at having sent it in that form. For you must have observed that the idea of inducing T. to take the initiative in introducing the Impressionists into England occurred to me only while writing, so that I was only able to refer to it inadequately in a postscript. Whereas in your letter you discuss the question more in detail.


As to the Exhibition of the “Indépendents,” I leave you an absolutely free hand. What do you say to exhibiting the two great landscapes of the Butte Montmartre? I am more or less indifferent about it; I am relying more upon this year’s work.

Here it is freezing hard and the ground is continually under snow. I have painted a study of the snow-covered ground with the town in the background. I have also made two small studies of a branch of an almond tree, which, despite the wintry weather, is already blossoming.


At last, after all this time, the weather has changed. This morning early it became quite mild. I have thus had the opportunity of making the acquaintance of the Mistral. I have already taken several walks in the neighbourhood; but the wind was so strong on each occasion that it was impossible to paint. The sky was a vivid blue and the great sun shed such powerful rays that it melted almost all the snow away. But the wind was so dry and piercing that it made me have goose-skin all over. However, I saw some beautiful things; the ruin of an abbey on a hill, covered with holly, pines and gray olive trees. I hope to be able to tackle this very shortly.


For Gauguin--as for many of us, and certainly for ourselves--the future presents many great difficulties. I firmly believe that we shall triumph in the end; but will the artists themselves ever be able to taste of that triumph and enjoy happier days? Has T. written to you? In any case, believe me, your letter will do good. Even if he does not answer, he will at least hear about us, etc.

Poor Gauguin is unfortunate; I am afraid that convalescence in his case will last longer than the fortnight he has had to spend in bed. When shall we see a generation of artists with healthy bodies? At times I feel really wild with myself; for, after all, it is no good being either more sick or more sound than the others; the ideal thing would be to have a temperament strong enough to reach the age of eighty and to have healthy blood withal. Still without all this one would be consoled if only one were sure that a more happily constituted generation of artists was going to follow the present one.

I see that you have not yet had an answer from T. I do not think it necessary that we should petition him further by another letter. All the same, in the event of your having to discuss any matter of business with him, you might let him feel in a postscript that you are surprised he has not let you know whether or not he has received the letter in question.


To refer to my work once more: to-day I painted a picture on a canvas about 25½ in. by 19 in.[32] It represents a drawbridge across which a small cart is being drawn, that stands out distinctly against the blue sky. The river is also blue, the banks are orange, and there is much green vegetation about them. A group of washerwomen are standing on the bank with corsets and caps of many colours. I have also painted another landscape with a small rustic bridge and some more washerwomen, and in addition to this, a grove of plane-trees close to the station. Since I have been here I have painted, in all, twelve studies.


Do you know, dear brother, I feel just as if I were living in Japan. I will say no more. And this notwithstanding the fact that I have not yet seen anything in its accustomed glory. And even if I feel sad about the expenses being so heavy and the pictures not being any good, I do not despair, for I am certain that my long sojourn in the south will be successful. Here I see and learn many new things, and if I am gentle with my body, it will not play me a bad turn. For many reasons I wish to found a home of refuge here, which in case of complete exhaustion might serve the purpose of putting one or two poor Paris cab-horses like yourself and many of our friends among the Impressionists, out to grass.


I painted my last three studies with the help of a view-finder divided into squares{EE}, which, as you know, I often use. I attach some importance to it, because I do not think it unlikely that, sooner or later, more artists will make use of it, just as the old German, Italian, and, I believe, the Flemish painters did. The modern way of using it may differ slightly from the old way; but is it not exactly the same with oil-painting? To-day absolutely different effects are aimed at from those which were sought by J. and H. van Eyck, the inventors of technique. This is to show you that I hope always to work independently and for myself alone. I believe in the absolute necessity of a new art of colour and drawing, as also of the whole of artistic life. And if we work with this strong faith, we may hope that it will not prove to be an illusion.

But what are we hearing from T.? Nothing at all? If I were you I would write him a few short lines, couched in sober language, in order to express your surprise at not having received an answer from him. I say this more particularly for you; for even if he does not reply to me, he must to you. And you must press him to do so, otherwise you would lose your prestige, and this excellent opportunity ought really to be seized.... What you must particularly avoid is to allow yourself to be treated like a dead man or a pariah.

I have received a few lines from G., who complains about the bad weather. He is still unwell, and says that of all the vicissitudes of life, none is more harassing to him than straits for money. And yet he feels that he is to be cursed with this condition for ever.

We have had rain and wind every day of late. I have been working at home upon the study of which I made a sketch in my last letter to Bernard. I have tried to make the colours like that of stained glass windows, and the drawing direct and firm.

I am just reading Guy de Maupassant’s “Pierre et Jean.” It is very fine. Have you read the preface to it, in which he declares the artist free to exaggerate and to create a more beautiful, more simple, and more comforting life in the novel, and explaining what Flaubert wished to express with the words, “talent is a long trial of patience,” and originality an act of will-power and of most intense observation?


There is a porch here--that of St. Trophime--which I am beginning to think extremely beautiful. It is, however, so cruel, so monstrous, and so like a terrifying and grotesque spectre of dreamland, that, beautiful monument though it is, and great as is its style, it seems to me to be part of another world, to which I am just as pleased not to belong as I am not to have lived in the glorious world of Nero.

Shall I admit the truth, and add that the Zouaves, the houses of ill-fame, the charming little girls of Arles who go to their confirmation, the priests in their surplices, in which they look like dangerous antediluvian animals,{FF} and the drinkers of absinthe also seem to me like creatures from another world? All this does not mean that I should feel more at my ease in an artistic world, but simply that I prefer to laugh about it than to feel isolated; because I have the idea that I should be sad if I could not look at everything in a humorous light.

In the evenings I have company; for the young Danish painter who is here is a very nice fellow. His pictures are dry, correct, and sober; but in my opinion this is not a serious fault, provided that the artist be young and intelligent. He began by studying medicine; knows Zola’s, Goncourt’s, and Guy de Maupassant’s works, and has enough money to lead a pleasant life. In addition to this he is animated by the earnest desire one day to do better work than he is now doing. I believe he would do well to postpone his return to his Fatherland for a year, or to return here after only a short visit to his home.


One of these days we must certainly try to find out how the case stands with this Mr. T. In the interests of our friends he ought really to say something definite. It seems to me that we are all to some extent bound to see that we are not looked upon as dead. It is not our cause alone that is at stake, but the common cause of all Impressionists. Consequently, as he has been appealed to by us, he owes us a reply. You will agree with me that we cannot make any progress before we receive a categorical statement of his intentions. If we consider that a permanent exhibition of impressionist work in London and Marseilles is a desirable thing it is obvious that we shall strain every nerve to bring it about. Now the question is, will T. come in with us or not?... And has he reckoned, as we have done, on a possible depression of the market in pictures which now stand at high prices, a depression which, in my opinion, will very probably occur the moment the prices of impressionist pictures begin to rise. You must perceive that the purchasers of expensive pictures will only achieve their own ruin by opposing the triumphal progress of a school which, owing to its energy and perseverance, has for years shown itself worthy of a Millet or a Daubigny, etc.

I congratulate you heartily on your letter from T. I think it entirely satisfactory. I am convinced that his silence concerning me was not intended as a slight. Besides, he must have taken it for granted that you would let me read his reply.

Moreover, it is much more practical for him to write to you; and as for me, you will see that, provided he does not think too poorly of my work, he will write to me soon enough when he has seen it. I can only repeat that I am more pleased about his simple and kindly letter than I can tell you. You will have noticed that he says he wants to purchase a good Monticelli for his own collection. What do you say to telling him that in our collection we possess a picture of a bunch of flowers which is more artistic and more beautiful than a bouquet by Diaz; that Monticelli often painted a bouquet of flowers, in order to be able to unite the whole scale of his richest and most harmonious colours in one picture, and that one would need to go back to Delacroix to find a similar wealth and play of colours; that--and I am now thinking of the picture which is at the Delarbeyrettes--we know of another bouquet picture, excellent in quality and moderate in price, which we consider, in any case, far more valuable than his figure pictures, which are to be found for sale at every corner, and which belong to the period when Monticelli’s talent was declining. I hope you are sending him G’s lovely seascape. Heavens! how glad I am that T. has answered in this way!

I have just painted a group of blossoming apricot trees in a small fresh-green orchard. I really had a good deal of trouble with the picture of the sunset, the figures and the bridge, about which I wrote to Bernard. The bad weather prevented me from finishing the picture on the spot, and when I tried to finish it at home I completely spoilt the study. I immediately started painting the same subject again on another canvas; but the weather had changed completely, and all the tones were grey.

Many thanks for all the steps you have taken with the “Indépendents,” but--although it does not matter at all this time--in future please print my name in the catalogue just as I sign it on my pictures, i.e., Vincent, and not van Gogh; and this for the simple reason that in this country no one can pronounce our surname. Enclosed I return you T.’s and R.’s letters; perhaps it would be interesting to keep the correspondence of the artists for some future time. It would not be a bad plan to include B.’s small head of the Brittany girl in your next parcel. One ought to show that all Impressionists are good and that their work shows versatility.


Would you like me to go to America with you? It would only be natural for the gentlemen to defray my travelling expenses. I could be indifferent to a good deal, but not to all things! And among the things about which I am not indifferent is, above all, your health, which you must recover completely. Now I believe that you ought to seek more refreshment than you do from Nature and from artists. And I would prefer to see you independent of Goupil’s and established on your own account with the Impressionists, rather than that you should adopt this alternative and be constantly travelling with valuable pictures belonging to the gentlemen in question. When our uncle was the partner, he made them pay him very well for many years; but see what it cost him! Yes, yes, your lungs are good, but ... just try a year at looking after yourself properly, and then you will realize the danger of your present life. You now have ten years of life in Paris behind you. That is more than enough. To this you will probably reply that Détaille, for instance, has perhaps thirty years of Paris life behind him, and that he is as straight as a die. Very well, do as he has done, if your constitution is anything like his; for in our family we are very tough. All I should like to say may be summed up as follows: If these gentlemen want you to do their dirty work for them, and at such a great distance too, then either demand a high price for the work, or else decline it and devote yourself entirely to the Impressionists. For even if you do less business with their work and turn over less money, you will at least be able to spend more of your time with nature. My health is decidedly improving and my digestion has been getting much better during this last month. I often suffer from unaccountable and involuntary fits of excitement or of apathy; but they pass away when my nerves grow calm again.


I constantly reproach myself with the fact that my painting does not bring in as much as it costs, and yet one must work. You must, however, remember that if ever it should become necessary for me to go into business, in order that your lot may be lighter, I should do so without regret.


It is strange; on one of my last evenings in Mont-Majour I saw a red sunset; the trunks and needles of pines which were growing on a mass of rock, were vividly illuminated. The rays of the sun bathed the trunks and the needles in a fiery orange-yellow light, while the other pines in the background formed a mass of Prussian blue against a pale blue-green sky. That is surely precisely the same effect as that picture of Claude Monet’s of which you spoke to me. It was simply glorious. The white sand and the layers of white rock beneath the trees were bluish in colour. How glad I should be to paint the panorama of which you have the first drawings. Its expanse is so vast! And it does not get grey in the background, but remains green to the farthermost line.

You must understand that I would prefer to drop my art than to think that you were slaving your life out to earn money. It is certainly necessary; but are we so situated that we must go to all these pains to get it? If you realize so well that to prepare for death (a “Christian idea” which in my opinion Christ fortunately did not share at all--he who according to the view of such people as considered him crazy, loved men and things on earth not wisely--but too well); if then, I say, you realize so well that to prepare for death is a thing one would prefer to leave severely alone, do you not also see that self-denial, and sacrifice for others is an error too, especially if it is as good as suicide, for in that case one turns one’s friends into murderers. If things have come to such a pass that you have to travel about in this way without being able to take a rest, I really feel as if I no longer had any desire ever to be quiet again. And if you accept these proposals, well and good; but in that case make a stipulation with these Goupils that they should take me back into their employ as soon as they can, and that they should let me join you on these journeys. Men are more important than things, and the more I worry myself about pictures, the colder they leave me. My reason for trying to paint them is that I would fain be reckoned among the artists.

I have painted a canvas in the open, in an orchard. The ground was ploughed and mauve in colour, there was a fence of reeds and two pink peach trees against a bright blue and white sky. Perhaps it was the best landscape I have ever painted. The very moment I had brought it home, our sister sent a Dutch essay to me in memory of Mauve (the portrait in it is very good--a fine etching--the text is bad). I do not myself know what moved me so profoundly and made my throat feel tight, but on my picture I wrote: “In memory of Mauve. Vincent and Theo.” And if you also like it, send it as it is to Madame Mauve. I purposely selected the best study I have painted here; who knows what they will say about it at home; but we do not mind that. I had the feeling that something cheerful and delicate would be fitting in memory of Mauve, and not a heavy, serious study.

Ne crois pas que les morts soient morts, Tant qu’il y aura des vivants Les morts vivront, les morts vivront.

That is how I look upon it--no more sadly than that.


Now you must be more careful to keep in touch with T. Whether we are all successful or not, I am beginning to think that within a year or so, everything will be all right. It seems to me as if T. and not R. should found the Impressionists’ exhibition in England.


You can tell G. quite frankly that my decided opinion is that in his own interests as well as in the interests of the firm, his prices were ludicrous. After all that has happened, R. must either pay handsomely or the artists must shut the door in his face. I have seen enough of that sort of thing already, and after mature consideration that is my opinion. With a price of 300 francs one spoils one’s subsequent sales, and that is a thousand pities.


I am in a frenzy of work, for the trees are blossoming, and I wished to paint a Provence orchard in all its unbounded cheerfulness and beauty. To keep a clear head for writing in the midst of it all, is therefore no easy matter. Yesterday, for instance, I wrote some letters which I afterwards tore up. Every day I feel more strongly that we must do something in Holland, and it must be done with the utmost verve and with that French gaiety which is worthy of the cause for which we stand. This is therefore a plan of campaign which will cost us the best pictures which we have produced together, pictures which are certainly worth a few thousand franc notes, or which have cost us, at least, something in money and a great deal in health and life. It would be a clear and sonorous reply to all the whispered suggestions that we are already half dead, and a revenge for your journey last year, and your cold reception, etc. But enough of this. Well, then, suppose we give Jet Mauve the picture in memory of Mauve, a study to Breitner (I happen to have got one which is like the study I exchanged with R. and Pissaro: oranges on a white ground, with a blue background) then a few studies to our sister, and to the Modern Museum at the Hague (as so many memories are connected with it) the two Montmartre landscapes which are at the Independants’ exhibition. There still remains one other unpleasant thing. When T. wrote: “Send me impressionist pictures, but only those which you consider very good” you put one of my pictures among the batch. And now I am in the infernal position of having to convince T. that I am and will remain a real Impressionist of the _petit boulevard_. What do you say to my giving him a picture for his collection? Just lately I have been thinking things over, and have found something ever so much more amusing than my usual kind of study; it is a drawbridge, with a small yellow carriage upon it and a group of washerwomen. In this study the ground is a glaring orange, the grass is very green, and the sky and the water are blue. It must have a frame of royal blue and gold, the inside blue and outside a gilt moulding. The frame might be made of blue plush; but it would be better to paint the wood blue.... I cannot find time to write a quiet letter; my work absorbs me too much. But what I particularly wished to say to you is that I should like to paint a few studies for Holland, so as to have done with it. Quite recently, whilst thinking of Mauve, T., our mother and Will, I got more excited than was good for me, and I was comforted by the thought of painting a few pictures for home. After that I shall think no more about them, and think only of the _petit boulevard_.


I am once again in the midst of work and am still painting blossoming orchards.

The air here is decidedly good for me, I only wish you could fill your lungs full of it. One of its effects is very strange; a small glass of cognac makes one drunk here. But as I do not feel the need of such stimulants in these parts to keep my blood circulating, my constitution will not suffer so much.


I hope to be able to make real progress this year; for I sorely need to do so.

I have a new orchard which is just as good as the pink peach trees. It is an orchard of apricot trees, most delicately pink in colour. At present I am working at some plum-trees with yellow-white blossom and a maze of black branches.

I am using an enormous amount of canvas and paint; but I trust that the money will not be wasted.


Yesterday I witnessed a bull fight in which five men tormented the animal with banderillas and cockades. One of the toreadors was badly wounded while springing over a barricade. He was a fair man with blue eyes and displayed tremendous coolness. It was said that he had had enough for some time. He was dressed in light blue and gold, just like the three figures in the wood, in our picture “Le Petit Cavalier,” by Monticelli. The arena is superb when it is crammed full of men and the sun is shining.

This month will be hard for you and me; and yet if we can only see our way to doing so, it would be to our advantage to paint as many blossoming orchards as possible. I am now in full swing, and I believe I shall have to paint the same subject ten times over. You know that, in my work, I like variety; my passion for painting orchards will not last for ever. After them it will probably be the turn of the arenas. I also have a tremendous amount of drawing to do; for I should like to make drawings after the manner of Japanese crape prints.[33] For I must strike the iron while it is hot, and after the orchards I shall be completely exhausted, for the sizes of the canvases are, 32 in. by 24½ in., 36 in. by 27½ in., and 29 in. by 22½ in.[34] We should not have too many with twice the number; for I have an idea that these might break the ice in Holland.

Mauve’s death was a hard blow to me, and you will notice that the pink peach trees were painted with some agitation.

I must also paint a starry night, with cypresses, or, perhaps, over a field of ripe corn. We get wonderful nights here. I am possessed by an insatiable lust for work. I shall be glad to see the result at the end of the year. I trust that by that time I shall be less tormented by a certain feeling of ill-ease that is troubling me now. On some days I suffer terribly! but I am not greatly concerned about it, for it is simply the reaction of the past winter, which was certainly not normal. My blood renews itself, and that is the most important thing of all.


My ambition is to make my pictures worth what I spend on them; or something more, because one must think of past expenses. But we shall succeed even in this; and even if everything does not turn out all right, work is at least progressing all the while.


I am constantly meeting the Danish painter; but he is soon going home. He is an intelligent fellow and his character and manners are impeccable, though his painting is still very weak. You will probably see him when he passes through Paris. You were quite right to visit Bernard. If he is going to do his military service in Algiers--who knows but what I may go to keep him company there.


I do believe that what K. says is quite right, I do not pay sufficient attention to values. But later on they will have even more to complain about, and they will say things that are no less true. It is impossible to attach the same importance both to values and to colours. Theodore Rousseau understood the mixing of colours better than any one. But time has blackened his pictures and now they are unrecognizable. One cannot be at the Pole and at the Equator at once. One must choose one’s way; at least this is what I hope to do, and my way will be the road to colour.

If you think the picture “In Memory of Mauve” will pass muster, you ought to put it in a plain white frame and include it in the next batch of pictures you send to the Hague. If you should find among the other studies, one which you think would be suitable for T. you might send it too, without dedication, and then you could keep the study on which there is a dedication, and all you would have to do would be to scratch the words out. It is better to send him a picture without any dedication; for then if he should prefer not to have a picture of mine he can appear as if he did not know that we wished to present him with one and quietly send it back. In any case I must offer him something, just to prove that I am interested in the cause, and that I know how to value to the full the fact that he has taken it in hand. But, after all, do everything as chance ordains.... As Mauve and he were very great friends, in the excitement of the moment it seemed to me the most natural thing in the world to paint something for T. at the same time as I painted the picture “In Memory of Mauve.” And that is all I thought about the matter.


Your Moslem notion that death comes when it must, might be looked into a little more deeply. It seems to me that we have no proof of such a distinct control of destiny by a power above. On the contrary, it strikes me that a reasonable and hygienic mode of life can not only lengthen existence but can also render it both merry and bright, whereas the neglect of hygiene in addition to disturbing the even course of our life may also bring it to a premature end. Have I not with my own eyes witnessed the death of a noble creature, simply because he had no intelligent doctor to attend him? He was so clear and so calm through it all, and kept repeating: “If only I had another doctor!” And he died with a shrug of his shoulders, and an expression on his face which I shall never forget.


I have been thinking of Gauguin and have come to the following conclusion: if he cares to come here, it will only cost him his journey and the two beds or two mattresses which we shall be compelled to buy. But, as G. is a seaman, we might perhaps be able to cook our food ourselves, and live together for the same sum as that which it costs me to live alone. You know that I have always thought it exceedingly foolish for painters to live alone; one always loses when one is quite isolated. You cannot manage to send him the wherewithal to live in Brittany, and me all that I need in Provence; but you might think it a good plan for us to share a common lot, and then you might fix a certain sum (let us say 250 francs per month) for which, in addition to my work, you would receive a Gauguin once a month.


Just a line in great haste to tell you that I have this minute received a note from Gauguin. He says that he has been too hard at work to write before, but is ready to come south at any moment, as soon as he can see the possibility of so doing. They are having an amusing time over there, painting, discussing, and contending with the virtuous Englishmen. He speaks in high praise of Bernard’s work, and B. is equally flattering about Gauguin’s. I am now painting here with as much enthusiasm as the man of Marseilles eats his bouillabaisse, and this will not surprise you seeing that my subject consists of sunflowers. I have three pictures in progress: (1) Large flowers in a green vase; (2) Three flowers, two in the bud and one in bloom, on a royal blue ground; (3) Twelve flowers and buds in a yellow vase (the latter being light against light), will I hope be the best of the three. I shall probably not leave it at that. Pending the time when I shall share my studio with G., I should like to decorate it with a scheme consisting only of large sunflowers. In a restaurant near your shop (in the Boulevard Montmartre), there is, as you know, a beautiful decoration of this sort. In my mind’s eye I can still see the great sunflower in the shop window before me. The whole scheme is to be a symphony of yellow and blue. I set to work every morning from daybreak onwards; for the flowers fade quickly and the whole thing must be done at one go. I have a host of ideas for new pictures. To-day I saw the same collier being unloaded by coal-heavers as that which I have already mentioned to you. At the same time I also saw vessels with cargoes of sand, of which I have sent you a drawing. That would be a splendid subject! But at present I am trying to discover a more simple technique which perhaps is not impressionistic. I should like to paint in such a way that everyone with eyes to see could not help but read a clear message from my pictures.


I have received a letter from G. in which he mentions the ---- francs which you sent him and over which he was deeply touched. He also refers to your having made suggestions concerning our project (he had not yet received the definite proposal at the time of writing). He says that when he was with his friend L. in Martinique, he discovered that they were able to live more cheaply together than apart, and that he is quite convinced of the advantages of a joint establishment. His abdominal pains are as bad as ever, and he seems to be very sad. He hopes to be able to collect 600,000 francs with the view of founding an art-dealer’s establishment for Impressionists, of which he will give you more explicit details; he also says that he would like to have you at the head of the undertaking. I should not be at all surprised if all this did not prove to be a Fata Morgana--castles in the air inspired by hunger. The greater one’s straits for money--more particularly if one is ill besides--the more readily one thinks of possibilities of this sort. In this very idea, therefore, I seem to see the proof that he is broken down, and that he must be put on his legs again as soon as possible. He says that when seamen have to lift a heavy weight, or when they are weighing anchor, they all sing together, in order to increase their strength and to raise their spirits--and that is just what the artists do not do.

I should be very much surprised, therefore, if he were not glad to come here. But in addition to his hotel and travelling expenses, there will also be his doctor’s bill to pay; so it will be somewhat difficult.

It seems to me that he will have to escape from the place with his debts, and leave pictures there as a pledge. I had to do the same thing in order to go to Paris; although I lost a heap of things on that occasion, one cannot do otherwise in such circumstances. For it is better to step forward than to stand still and rot. If G. prefers to run the risk of plunging into business; if he really hopes to achieve something in Paris, in Heaven’s name let him go there! But I think it would be wiser for him to come here, at least for a year. I have seen some one here who came back from Tongking quite ill through his stay in that delightful country. But he has completely recovered his health here.


If you were to see La Camargue, and many other places in this part of the world, you would be as surprised as I am at the country being so exactly in the character of Ruysdael. I am at work upon a new theme: fields as far as the eye can see, both green and yellow. I have drawn them twice already and am beginning a picture of them. It is just in the style of a Salomon Konink--you know, the pupil of Rembrandt who used to paint those vast and endless plains--or of a Michel or a Jules Dupré. In any case it is something very different from rose-gardens. It is true that I have studied only one side of Provence, and that on the other side nature has another aspect, such as Claude Monet used to render, for instance. I am really anxious to know what G. is going to do. He says that on one occasion he had 35,000 francs’ worth of impressionist pictures bought by Durand-Ruel, and hopes to be able to do the same for you. In my opinion Gauguin’s safest line of business would be the painting and sale of his own pictures.

I still have in my possession “A Starry Night,” “The Furrows,” “The Poet’s Garden,” “The Vineyard.” What! poetical landscapes? We will not attach too much importance to these studies, which, though the painting of them certainly cost one more in heart’s blood than the others, are nevertheless not so marketable. If you had sent me 100 francs I should also have painted the sea at Saintes-Maries. The ruthless Mistral is now blowing, which is bad for work; but before real winter comes, we shall have some more fine weather, and in any case I hope to be able to add a few more studies to the series I now have in hand.


The pitiless Mistral is blowing! but I have to keep myself constantly ready; for I have to paint during the short intervals and then everything must be in order for the battle to be fought. The canvas has not yet been sent, and the matter is most urgent. Do please order ten or at least five metres at once. It is pressing. To-day I bought some here in order, weather permitting, to be ready to-morrow or the day after. I am wholly absorbed in my work, and I will certainly not give in if only I can keep in the vein. All these large pictures are good, but very trying. Enclosed I send you a letter I wrote yesterday. In it you will see what I think of the portrait of G. which he has sent me. It is too black and too sad. Even so, I must confess that I like him. But he will change and must come here. One should not work Prussian blue into one’s drawing of a face; for then it ceases to be flesh and becomes wood. I think and hope, however, that the other Brittany pictures are better, as regards colour, than this portrait, which after all was painted in a hurry.


Believe me, I exaggerate neither in regard to G. nor to his portrait. He must eat, take walks with me, see our house as it is, and give a helping hand,{GG} and, in a word, thoroughly divert himself. He has lived cheaply, it is true, but it has made him so ill that he can no longer distinguish a bright from a sombre tone. In any case it is exceedingly distressing, and it is high time for him to come here, where he will soon get well again. Meanwhile, forgive me if I exceed my allowance; I shall work all the more for it. Since Thursday I have been so hard up that from then until Monday I had only two real meals. At other times I had only bread and coffee, which I had to have on credit and I paid for it to-day. If you can, therefore, send me something quickly.


This time things have gone pretty hard with me; I got to the end of my money on Thursday, and it seemed an age to wait until noon on Monday. During these four days I have lived principally upon 23{HH} cups of coffee, and the bread I ate with them is not yet paid for. That is not your fault but mine--if one speak of fault at all in the matter. For I was frantically anxious to see my pictures in their frames and had paid a little more than I could afford, more particularly as the month’s rent and attendance had to be settled as well. As far as I am concerned, old chap, it would not matter, but I feel how you too must suffer under the stress which work imposes upon us; and my only consolation is to think that you would approve of my using every possible effort, so long as the fine weather lasts. I cannot say it has been fine for the last few days, as a ruthless north wind has been blowing and has driven all the faded leaves furiously before it. But between this and winter, the finest days and the most beautiful effects of light will come, and then I shall have to devote all my energies to my work. I am so much in the mood for painting that I simply could not stop suddenly.

Do you know how much I have left for the week, and after four days of fasting? Exactly six francs. I had something to eat at midday; but this evening all I shall have will be a crust of bread. And all my money is spent on the house and on the pictures. For I have not even got three francs left in order to....{II}


One ought not to attach most importance to those studies which give one a great deal of trouble, and which nevertheless are not so pleasing as the pictures which are the result and fruit of those studies, and which one paints as if in a dream, without nearly so much trouble. Inclosed I send you a letter which I wrote a day or two ago on G.’s portrait. I have not the time to write it again; but I lay the most stress on the following points: I do not like all this ugliness in our work, save in so far as it shows us the way. Our duty is, however, neither to tolerate it on our own account, nor to make others tolerate it; on the contrary. I also send you herewith a letter from G.; fortunately he is getting well again. I should be extremely glad if R. were to do something for him; still--R. has a wife, children, and a studio, and he is building a house; so I can well understand that even a rich man cannot always spend money on pictures, even if it were only a hundred francs. I believe it would be a great change for me, if G. were here, for day after day goes by now without my ever exchanging a word with a soul. In any case his letter was a great joy to me. If one live too long in the country, one gets quite besotted, and even if this has not happened to me yet, it might make me unproductive in the winter. This danger would vanish if he came, for we should never be at a loss for ideas. If work progresses favourably and courage does not fail us, we may reckon on a number of interesting years in the future.

At the present moment I am holding an exhibition, for I have taken all my studies off their stretchers, and nailed them on the wall to dry. You will see that once I am in possession of a whole number of them, and a selection is made from them, it will come to the same thing as if I had lavished more work and study upon them; for whether one paint the same subject again and again on the same canvas or on several canvases does not make any difference to the seriousness of the work.


So our uncle is dead! Our sister wrote me the news this morning. They seem to have expected you at the funeral, so probably you were there. Life is short and vanishes like smoke! But that is no reason for despising the living. And we are right after all to think more of the artists than of the pictures.


M. K. returned here yesterday, and liked my pictures of the little girl and my garden. But I do not know whether he has any money. I am now busy painting a postman in a blue uniform with gold trimmings; he is a fanatical Republican like old T., and much more interesting than most people are.

If it were possible to call R.’s attention to it, he might perhaps take the picture by G. which you bought; and if there is no other way of helping G. what shall we do? I will say to him (R.): “Look here, our picture pleases you very much just as it is, and I believe we shall see even better work by this painter; why do you not do as we do? We believe in the man as he stands and like everything he does.” And then I will add: “that, if it has to be, we shall naturally let him have the large picture, but that as G. is sure to be constantly in need of money, it would not be right for us in his interests to keep back the picture until his prices had risen three or four fold, which they are certain to do sooner or later.” If R. then makes a plain and definite offer, we shall be able to consider it--and G. might say that although he had let you, his friend, have the picture at a certain price, he would not think of letting an art lover have it for the same sum. But let us first wait to hear what he will say.


The change that I am trying to introduce into my work is to attach more importance to the figure. In painting this is really the only thing which moves me to the depths, and which gives me a more vivid idea of infinity than anything else.

To-day I shall write to our sister; how sad they must be! As she herself says: “As soon as a man has left us, we can remember only his happy moments and his good points.” And yet, the most important thing would be to see these things while he is living. It would be so simple, and would so enlighten us concerning the cruelties of life, which surprise us now and make our hearts so sore. If life had another invisible half, on which one landed when one died, we should then give those who started on this solemn and interesting journey our best wishes and our most hearty sympathy on the road thither.


I have just dispatched the large drawings: the upright of the small peasant garden seems to me the best. The garden with the sunflowers belongs to a bathing establishment. As to the third garden, which is landscape shape,[35] I have also made oil sketches of it. The orange-coloured, yellow patches of flowers grow exceedingly brilliant under the blue sky, and everything is bathed in a happier and more loving atmosphere than in the north: it vibrates, like your bunch of flowers by Monticelli. Although I have done about 150 drawings and oil-sketches I feel as if I had done absolutely nothing. I would readily content myself with being a precursor of the painters of the future who will paint here in the south.


There are a number of fine lithographs to be seen: Daumiers, reproductions of Delacroix, Decamps, Diaz, Rousseau, Dupré, etc. Soon, however, this will cease, and what a pity it is that this art is about to disappear!


Why do we not stick to what we have once discovered in our art, as the doctors and the engineers do? With them, when anything is discovered, the knowledge of it is carefully preserved. But in the wretched fine arts everything is forgotten; we hold fast to nothing. Millet created the synthesis of the peasant, and now? Oh, of course, there are Lhermitte and perhaps one or two others as well--Meunier, for instance. But have painters really learnt to see a peasant in the proper way? Not at all! Scarcely one of them is capable of such a thing. And does not the fault lie a little with the Parisians, who are changeable and deceptive as the sea? You are quite right in saying that we must go our own way, quite unconcerned, and work for ourselves. Do you know that even if Impressionism were sacrosanct, at times I should, nevertheless, like to be able to paint things which the former generation, Delacroix, Millet, Rousseau, Diaz, Monticelli, Isabey, Decamps, Dupré, Ziem, Jonkind, Israels, Mauve, and a host of others, Corot, and Jacques ... would be able to understand.

Manet and Courbet got very near to treating colour and form together as equal in importance. I should like to prepare myself for ten years by means of studies for the task of painting one or two figure pictures. The old and eternal plan--so very often recommended and so seldom carried out!


The small upright of the peasant garden, as I saw it in nature, is glorious in colour. The dahlias are a deep and severe purple, and on one side there is a double row of flowers which is a mass of pink and green, and on the other there is a mass of orange with scarcely any green. In the centre there is a low white dahlia and a small pomegranate tree with greenish yellow fruit, and blossom of an ardent orange red colour. The ground is grey, the tall reeds are blue green, the trees viridian, the sky blue, the houses white with green window frames and red roofs. That is how it looks in the morning in full sunlight; at evening it is all immersed in the deep shadows cast by the fig trees and the tall reeds. That is the whole thing. To seize all these beauties, a whole school of artists would be necessary, who would work together and complete one another in the same country, like the old Dutchmen: portrait painters, painters of genre pictures, landscapists, animal painters, painters of still-life, etc.