Frases de Paul Gauguin
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
„Life being what it is, one dreams of revenge — and has to content oneself with dreaming.“
— Paul Gauguin
1890s - 1910s, 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
„I must confess that I too am a woman and that I am always prepared to applaud a woman who is more daring than I, and is equal to a man in fighting for freedom of behavior.“
— Paul Gauguin
1890s - 1910s, The Writings of a Savage (1996), p. xxvii: Quote from Le Sourire (Tahiti, August 1899)
„My Dear Mr. Pissarro; - I accept with pleasure the invitation that you and Mr. Degas were kind enough to extend to me. And naturally in that case I shall abide by all the rules that govern your Societe. Based on this decision, I also have the membership dues available. I will probably see you at Miss Latouche's and we will talk about this.“
— Paul Gauguin
1870s - 1880s, Quote from a short letter of Gauguin, 3 April 1879, to French artist to Pissarro; as cited on 'Paul Gauguin Autograph Letter Signed to Camille Pissarro' - Nade D. Sanders http://natedsanders.com/paul_gauguin_autograph_letter_signed_to_camille_pi-lot13463.aspx
Gauguin accepted membership in the Societe Anonyme Cooperative des Artistes Peintres, Sculpteurs, Graveurs, formed in 1873 by Pissarro, Claude Monet, Pierre-Auguste Renoir and Alfred Sisley for the purpose of exhibiting their artwork independently
„If we observe the totality of Camille Pissarro's works, we find there, despite the fluctuations, not only an extreme artistic will which never lies, but what is more, an essentially intuitive pure-bred art... He looked at everybody, you say! Why not? Everyone looked at him, too, but denied him. He was one of my masters and I do not deny him.“
— Paul Gauguin
1890s - 1910s, Quote c. 1902, in Racontars d'un Rapin, Paul Gauguin; as quoted in 'Introduction' of Camille Pissarro - Letters to His Son Lucien, ed. John Rewald, with assistance of Lucien Pissarro – (translated from the unpublished French letters by Lionel Abel); Pantheon Books Inc. New York, second edition, 1943, p. 15
After Paul Cezanne it was Gauguin who came to ask advice and painted landscape at the side of the much elder Pissarro. The traces of this apprenticeship as an impressionist were soon to disappear from Gauguin's works, but shortly before he died, he wrote these sentences about his former teacher
„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.“
— Paul Gauguin
1870s - 1880s, The Writings of a Savage (1996), p. 24: quote in his letter to Vincent van Gogh, c. 1888
„As I wanted to suggest a luxuriant and untamed type of nature, a tropical sun that sets aglow everything around it, I was obliged to give my figures a suitable setting.It is indeed the outdoor life — yet intimate at the same time, in the thickets and the shady streams, these women whispering in an immense palace decorated by nature itself, with all the riches that Tahiti has to offer. This is the reason behind all these fabulous colors, this subdued and silent glow."But none of this exists!""Oh yes it does, as an equivalent of the grandeur, the depth, the mystery of Tahiti, when you have to express it on a canvas measuring only one square meter."Very subtle, very knowing in her naïveté is the Tahitian Eve. The riddle hiding in the depth of her childlike eyes is still incommunicable to me.“
— Paul Gauguin
1890s - 1910s, The Writings of a Savage (1996), p. 137: Diverse Choses, his notebook (1896 - 1898)
„In art, there are only two types of people: revolutionaries and plagiarists. And in the end, doesn't the revolutionary's work become official, once the State takes it over?“
— Paul Gauguin
1890s - 1910s, The Writings of a Savage (1996), p. 107: in his letter, published in Le Soir, (25 April 1895)
„Your Nordic blue eyes looked attentively at the paintings hanging on the walls. I felt stirrings of rebellion: a whole clash between your civilization and my barbarism. Civilization from which you suffer. Barbarism which for me is a rejuvenation.“
— Paul Gauguin
1890s - 1910s, The Writings of a Savage (1996), Original: Votre œil bleu du nord regardait attentivement les tableaux pendus aux murs. J’eus comme le pressentiment d’une révolte : tout un choc entre votre civilisation et ma barbarie. Civilisation dont vous souffrez. Barbarie qui est pour moi un rajeunissement.
p. 105: quote from his letter to August Strindberg (5 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.“
— Paul Gauguin
1870s - 1880s, 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.
„Many people say that I don't know how to draw because I don't draw particular forms. When will they understand that execution, drawing and color (in other words, style) must be in harmony with the poem?“
— Paul Gauguin
1890s - 1910s, in a letter to Charles Morice (July 1901), from French Paintings and Painters from the Fourteenth Century to Post-Impressionism, ed. Gerd Muesham [Frederick Ungar, 1970, ISBN 0-8044-6521-5], p. 551
„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.“
— Paul Gauguin
1870s - 1880s, 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.
