Frases de Paul Gauguin
Data de nascimento: 7. Junho 1848
Data de falecimento: 9. Maio 1903
Eugène-Henri-Paul Gauguin foi um pintor francês do pós-impressionismo.
Citações Paul Gauguin
„At the age of ten, twenty, a hundred, very young, a little older, and very old, an artist is always an artist. Isn't he better at some times, some moments, than at others? Never impeccable, since he is a living, human being?“
Fonte: 1890s - 1910s, The Writings of a Savage (1996), p. 219: quote from 1903
Quote in Avant et Après, (1903); taken from Paul Gauguin's Intimate Journals, trans. (1923) Van Wyck Brooks [Dover, 1997, ISBN 0-486-29441-2], p. 2
1890s - 1910s
„I am a great artist and I know it. It's because of what I am that I have endured so much suffering, so as to pursue my vocation, otherwise I would consider myself a rogue — which is what many people think I am, for that matter. Oh well, what difference does it make. What upsets me the most is not so much the poverty as the things that perpetually get in the way of my art, which I cannot carry out the way I feel and which I would carry out if it weren't for the poverty that is like a straitjacket. You tell me I am wrong to stay away from the artist[ic] center. No, I am right; I've known for a long time what I am doing and why I am doing it. My artistic center is in my brain and nowhere else, and I am strong because I am never thrown off-course by other people and because I do what is in me.“
Original: Je suis un grand artiste et je le sais. C'est parce que je le suis que j'ai tellement enduré de souffrances. Pour poursuivre ma voie, sinon je me considérerai comme un brigand. Ce que je suis du reste pour beaucoup de personnes. Enfin, qu'importe! Ce qui me chagrine le plus c'est moins la misère que les empêchements perpétuels à mon art que je ne puis faire comme je le sens et comme je pourais le faire sans la misère qui me lie les bras. Tu me dis que j'ai tort de rester éloigné du centre artistique. Non, j'ai raison, je sais depuis longtemps ce que je fais et pourquoi je le fais. Mon centre artistique est dans mon cerveau et pas ailleurs et je suis fort parce que je ne suis jamais dérouté par les autres et je fais ce qui est en moi.
Fonte: 1890s - 1910s, The Writings of a Savage (1996), pp. 53-54: Quote in a letter to his wife, Mette (Tahiti, March 1892)
„I am leaving in order to have peace and quiet, to be rid of the influence of civilization. I want only to do simple, very simple art, and to be able to do that, I have to immerse myself in virgin nature, see no one but savages, live their life, with no other thought in mind but to render, the way a child would, the concepts formed in my brain and to do this with the aid of nothing but the primitive means of art, the only means that are good and true.“
Fonte: 1890s - 1910s, The Writings of a Savage (1996), p. 48: quoted in the interview 'Paul Gauguin Discussing His Paintings', Jules Huret, printed in L'Écho de Paris, (23 February 1891)
„In my figures [of his famous painting 'Vision After the Sermon'] I have achieved a great simplicity, which is both rustic and superstitious….. In this picture the landscape and the struggle [between Jacob wrestling with the angel ] exist only in the imagination of the people whom the sermon has moved to prayer. That's why there is a contrast between the people, depicted naturally, and the struggle in its unnatural and dis-proportioned landscape.“
Fonte: 1870s - 1880s, The Writings of a Savage (1996), p. 24: quote in his letter to Vincent van Gogh, c. 1888
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Fonte: 1890s - 1910s, The Writings of a Savage (1996), p. 22: quote in a letter to Ambroise Vollard, 1900
„My eyes close and uncomprehendingly see the dream in the infinite space that stretches away, elusive, before me.“
Original: Mes yeux se ferment pour voir sans comprendre le rêve dans l'espace infini qui fuit devant moi.
Fonte: 1890s - 1910s, The Writings of a Savage (1996), pp. 184-185: Letter to André Fontainas, March 1899
„I was so bent on putting all my energy in its 'Where do we come from? What are we? Where are we going' before dying [suffering from syphilis, Gauguin decided to commit suicide at the end], such painful passion amid terrible circumstances, and such a clear vision without corrections that the hastiness of it disappears and life bursts from it. It does not stink of models, professionalism, and the so-called rules that I have always disregarded.“
Fonte: 1890s - 1910s, The Writings of a Savage (1996), p. 160: Gauguin's quote in his letter from Tahiti to a friend, c. 1899
Fonte: 1890s - 1910s, The Writings of a Savage (1996), p. 68: from his manuscript, known as 'Cahier pour Aline' (ca. 1892-1893)
„With what is he concerned? Drawing was at its lowest ebb; it had to be restored. Looking at these nudes, I exclaim, 'Drawing has come back again!'
As a man and painter he sets an example. 'Degas' is one of those rare masters who could have had anything he wanted, yet he scorned decorations, honors, fortune, without bitterness, without jealousy.“
Quote of Paul Gauguin, in Avant et après (1903)
1890s - 1910s
„.. so before I died I wanted to paint a large canvas that I had worked out in my head, and all month long I worked [on Tahiti] day and night at fever pitch... It's all done without a model.“
late quote about the start of his famous large painting 'Where do we come from? What are we? Where are we going'
Fonte: 1890s - 1910s, The Writings of a Savage (1996), pp. 159-160: in a letter from Tahiti to a friend, 1898
„In order to produce something new, you have to return to the original source, to the childhood of mankind.“
Fonte: 1890s - 1910s, The Writings of a Savage (1996), p. 110: cited by Eugène Tardieu, 'Interview with Paul Gauguin,' in L'Écho de Paris, (13 May 1895)
„Painting is the most beautiful of all arts. In it, all sensations are condensed, at its aspect everyone may create romance at the will of his imagination, and at a glance have his soul invaded by the most profound memories, no efforts of memory, everything summed up in one moment. Complete art which sums up all the others and completes them. Like music, it acts on the soul through the intermediary of the senses, the harmonious tones corresponding to the harmonies of sounds, but in painting, a unity is obtained which is not possible in music, where the accords follow one another, and the judgement experiences a continuous fatigue if one wants to reunite the end and the beginning. In the main, the ear is an inferior sense to the eye. The hearing can only grasp a single sound at one time, whereas the sight takes in everything and at the same time simplifies at its will.“
La peinture est le plus beau de tous les arts; en lui se résument toutes les sensations, à son aspect chacun peut, au gré de son imagination, créer le roman, d'un seul coup d'œil avoir l'âme envahie par les plus profonds souvenirs; point d'effort de mémoire, tout résumé en un seul instant. — Art complet qui résume tous les autres et les complète. — Comme la musique, il agit sur l'âme par l'intermédiaire des sens, les tons harmonieux correspondant aux harmonies des sons; mais en peinture on obtient une unité impossible en musique où les accords viennent les uns après les autres, et le jugement éprouve alors une fatigue incessante s'il veut réunir la fin au commencement. En somme, l'oreille est un sens inférieur à celui de l'œil. L'ouïe ne peut servir qu'à un seul son à la fois, tandis que la vue embrasse tout, en même temps qu'à son gré elle simplifie.
Quote of Gauguin from: Notes Synthéthiques (ca. 1884-1885), ed. Henri Mahaut, in Vers et prose (July-September 1910), p. 52; translation from John Rewald, Gauguin (Hyperion Press, 1938), p. 161.
1870s - 1880s
„How do you see this tree? Is it really green? Use green, then, the most beautiful green on your palette. And that shadow, rather blue? Don't be afraid to paint it as blue as possible.“
Comment voyez-vous cet arbre? Il est bien vert? Mettez donc du vert, le plus beau vert de votre palette; — et cette ombre, plutôt bleue? Ne craignez pas la peindre aussi bleue que possible.
Quote from a conversation in 1888, Pont-Aven, with Paul Sérusier as cited by w:Maurice Denis, inL'influence de Paul Gauguin, in Occident (October 1903) and published in Du symbolisme au classicisme. Théories (1912), ed. Olivier Revault d'Allonnes (Paris, 1964), p. 51.
1870s - 1880s
„I love Brittany; I find wildness and primitiveness there. When my wooden shoes ring on this granite, I hear the muffled, dull, and powerful tone which I try to achieve in painting.“
Fonte: 1870s - 1880s, The Writings of a Savage (1996), p. 109: in a letter to a friend, c. 1886