The Letters of a Post-Impressionist Part 7

I have painted the "Sower." Oh, how beautiful the ill.u.s.trations in the old calendars were!--with the hail, the rain, the snow and fine weather always rendered in the perfectly primitive manner which Anquetin favoured for his "Harvest."

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I may as well tell you that I do not dislike country life--for I grew up in the midst of it. Sudden recollections of old times and a longing for that infinite of which the "Sower?" and the "Sheaf of Corn" are evidence, still enchant me now, just as they did formerly. But when shall I paint the starry heavens?--that picture which is always in my mind? Ah, what the worthy Cyprian says in J. K. Huysmans?' "En? Menage," is very true!--"The most beautiful pictures are those of which one dreams when one is smoking a pipe in bed but which one never paints." And yet one must tackle such pictures, however incompetent one may feel in the presence of the inexpressible perfection and triumphant splendour of nature.

Here is another landscape for you!--A setting sun, a rising moon? In any case, a summer?'s evening. A violet city, yellow stars, a green-blue sky, crops of all colours, old-gold, copper, green-gold, red-gold, yellow-gold, yellow-bronze, green and red. I painted it in the midst of a North wind.

I should like to say the following about black and white:--take my "Sower?"! The picture is divided into two halves, the upper portion is yellow and the lower portion violet. Now you observe that the white trousers are both restful and cheering to the eye while the strong and glowing contrast of the yellow and the violet might at the same time irritate it.

One reason for working is that the pictures are worth money. You will say, in the first place, that this reason is prosaic, and secondly that it is untrue. But it really is true. One reason for not working is that, in the first place, canvas and colour cost a lot of money. Drawings are the only things that can be produced cheaply.

My chief reason for being so fond of this part of the country is that here I am not in such fear of the cold which r.e.t.a.r.ds my circulation, and thus prevents me from thinking and doing anything at all. You will realize this only when you are a soldier and chance to come to these parts. Your melancholy will take wing,--for it is very probable that it is only the outcome of your having too little blood. And all this is the result of the confoundedly bad wine and infamous beef of Paris. Things had gone so far with me that my blood had almost ceased to circulate, or practically so in the true sense of the word. But here, in about a month?'s time, it began to flow again. And, my dear fellow, at that time I had a fit of melancholy like the one you have at present, and I would have suffered from it as much as you are suffering from yours, had I not greeted it joyfully as a sign of my recovery, which, by the by, was soon an established fact.

To paint and to love women are incompatible. This is really a confounded nuisance!

The symbol of St. Luke, the patron saint of painters, is as you know an ox. Thus one must be as patient as an ox if one would wish to cultivate the field of art. But how lucky oxen are to have nothing to do with this confounded business of painting!

But let me tell you this, that after your fit of melancholy you will feel fresher than you did before. Your health will grow stronger, and you will find the world about you so beautiful, that you will have but one wish--to paint. I believe that your poetry will also change in the same way. After many eccentricities you will succeed {D} in producing things full of Egyptian repose and grand simplicity.

You will doubtless agree that neither you nor I can form a complete image of what Velasquez or Goya were as men and painters; for neither you nor I have seen Spain, their native land, and all the lovely pictures which have remained in the South. But this does not alter the fact that the little we do know is really very great indeed.

In order to understand the painters of the North, and above all Rembrandt, it is unquestionably of paramount importance to know and understand their country--and the somewhat petty and intimate history of their age, as well as the customs of their ancient fatherland. I must repeat that you and Baudelaire have not a sufficiently thorough knowledge of Rembrandt, and as for you, I still feel that I should like to induce you to make a long study of the greater and lesser Dutch Masters, before you form a definite opinion about them. For it is not a matter only of rare and costly jewels, one has to select precious stones from out a ma.s.s of precious stones, and many a false diamond will be found among genuine specimens. Thus, although I have studied the schools of my fatherland for over twenty years, a discussion concerning the painters of the North is usually conducted in such a false spirit, that I should in most cases hold my peace whenever the conversation chanced to turn upon them.

I can only urge you, therefore, in Heaven?'s name, to examine them a little more thoroughly; your trouble will be repaid a thousandfold.

If, for instance, I declare that the Ostade of the Louvre, representing the family of the artist--the man himself, his wife and his ten children--like the "Congress? of Munster," by Terborch, is a picture which though infinitely worth being studied and deeply thought about [is sadly neglected];[24] and that precisely those pictures in the Louvre collection which I particularly value and regard as the most remarkable, are very often overlooked by artists--even by those who come on purpose to see the Dutch School--these mistakes do not surprise me.

For I know that my choice is based upon specialised knowledge which the majority of French people cannot acquire. If, however, I disagree with you on these points, I am nevertheless convinced, that in time to come you will share my view of the matter.

What always makes me so desperate in the Louvre, is to be compelled to look on while the asinine authorities allow their Rembrandts to be spoilt, and ruin so many beautiful pictures.

For the disagreeable jaundiced tone of some of the Rembrandts is the result of discolouration brought about by dampness or other causes (heating, dust, etc.), a thing I could easily prove to you.

And that is why it is just as difficult to ascertain Rembrandt?'s colouring as it is to discover accurately what greys were used by Velasquez. For the want of a better expression one might overcome the difficulty by speaking of Rembrandt?'s gold; but it is very vague.

When I came to France I learnt to understand Delacroix and Zola perhaps better than many a Frenchman. And my admiration for both of these men is now as unbounded as it is sincere. Armed with an almost complete mastery of Rembrandt, I discovered that Delacroix obtained his effects by means of his colour, and Rembrandt by means of his values; but they are worthy of each other.

Zola and Balzac, who are, among other things, the painters of a whole epoch, afford their admirers many rare artistic delights owing to the fact that they express the whole of the age which they describe.

Even though Delacroix paints only mankind and life, instead of a whole age, he belongs none the less to the cla.s.s of universal geniuses. I particularly like the closing words of an article which, if I am not mistaken, was written by Theophile Silvestre, who ended a hymn of praise as follows: "Thus, almost with a smile on his lips, did Eugene Delacroix die. A n.o.ble painter, he bore the sun in his head and a tempest in his heart, and he could turn from warriors to saints, from saints to lovers, from lovers to tigers, and from tigers to flowers."

Daumier is also a great genius, while Millet is likewise the painter of a whole generation and of its atmosphere. Maybe, these great geniuses are a little crazy, and it is possible that we may be a little crazy too, to have such faith in them and to feel such unbounded admiration for their art. If this be so, I prefer my folly to the cold wisdom of others.

Perhaps the most direct way is to study Rembrandt. But, first of all, let me tell you something about Franz Hals, who has never painted the Saviour, the Angel announcing Christ?'s birth to the shepherds, the Crucifixion or the Resurrection, and who has never painted naked, voluptuous, or cruel{E} female figures.

He always painted portraits and nothing else--soldier pictures, officers?' banquets, portraits of magistrates a.s.sembled to discuss affairs of State, and portraits of matrons with pink or sallow complexions, wearing white caps and dressed in black wool or satin, discussing the budget of an orphanage or a hospital.

He also painted a drunken toper, an old fishwife as a lively witch, a beautiful Bohemian courtesan, unweaned babies in arms, and an elegant{F} cavalier--a _bon-vivant_, with a bristly moustache, top-boots, and spurs.

He painted himself and his wife as young lovers, sitting on a gra.s.sy bank in the garden, after the wedding night.

He painted tramps and laughing street-boys, musicians, and a fat cook.

We cannot do anything else; but all this is worthy of Dante?'s "Paradise," the masterpieces by Michelangelo and Raphael, and even the Greeks; it is as beautiful as Zola, but more healthy and more cheerful, though equally true to life. For the age of Hals was healthier and less wretched. What then is Rembrandt? Precisely the same, a portrait painter! One must first have this sound, clear and comprehensive idea of these two Dutch masters, who are worthy of each other, and then one can enter more deeply into this subject. If one can picture the whole of this glorious state, revealed in grand outline by both of these prolific portrait painters, plenty of room is left for the landscapes, interiors, pictures of animals and philosophical subjects. But I implore you to follow my reasoning closely; I am trying to make it as simple and as clear as possible.

Let every corner of your brain be permeated with that master, Franz Hals, who painted the portraits of an entire, important, living, and immortal state. Also let every corner of your brain be permeated with that other by no means minor great master of the Dutch state, Rembrandt van Ryn, a man of mighty gifts, and just as naturalistic and healthy as Hals. And now from this source--Rembrandt, we see arise as direct and genuine pupils: Jan van der Meer of Delft, Fabritius, Nicholas Maes, Pieter de Hooch, Bol; as also such artists as Potter, Ruysdael, and Ostade, who are under his influence. I have mentioned Fabritius to you, only two of whose pictures we possess. But in all this I have not referred to a whole host of good painters, and above all not to the false diamonds. And it is precisely with these spurious stones that the French man in the street is best acquainted. Have I made myself clear? I have tried to reveal the great and simple fact: the painting of mankind, or, preferably, of a whole state, by means of portraits. Much later we shall have to deal with magic art, with the pictures of Saviours and of nude women--these things are extremely interesting, but they are not everything.

I do not think that the question of the Dutch masters which we raised a day or two ago, is without interest. In all matters of humanity, originality, or naturalism, it is very interesting to consult them. But, in the first place, I must speak about you and two still-life pictures you have painted, as also two portraits of your grandmother. Have you ever succeeded better in anything else? Were you ever more yourself, more individual, in any other work? My answer is No! The thorough study of the first subject, the first person, that was at hand, sufficed to make you work with earnestness. Do you know what it was that made these three or four studies so valuable to me? Something inexplicably arbitrary, something very clever, deliberate, firm and self-reliant--that is what it was. Never, dear friend, have you been closer to Rembrandt than while painting those studies. It was in Rembrandt?'s studio, under the eyes of that incomparable Sphinx, that Vermeer of Delft found that extraordinarily sound technique which was never to be surpa.s.sed, and which people are so ardently longing to find to-day. I know, of course, that we are now engaged in the problem of colour, whereas they were concerned with chiaroscuro and values. But what do these slight differences matter when that which is, above all, necessary is to be able to express oneself with vigour and strength?

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At the present moment you are investigating the technique of the early Italians and Germans, and the question of the symbolic significance which the spiritualized and mystic painting of the Italians may possess--by all means continue!...

A certain anecdote about Giotto strikes me as being very neat. There was a prize compet.i.tion opened for the best picture of the Virgin, and a host of sketches were sent in to the judging committee of fine arts of the day. The one signed by Giotto was a simple oval, a plain, egg-shaped s.p.a.ce. The jury entirely confident, although perplexed, gave Giotto the commission for the picture. Whether it is true or not, I like the story.

Now, however, let me return to Daumier and to the portrait of your grandmother. When will you again send us studies of such sterling value?

I urge you most earnestly to do so, although I by no means underestimate your attempts at line composition, and am far from indifferent to the effect of contrasted lines and forms. The trouble is, my dear old Bernard, that Giotto and Cimabue, like Holbein and Van Eyck, lived in an atmosphere of obelisks--if I may use such an expression--in which everything was arranged with architectural method, in which every individual was a stone or a brick in the general edifice, and all things were interdependent and const.i.tuted a monumental social structure. If the Socialists construct their edifice in the same logical manner--a thing they are very far from doing--the above-mentioned order of society will certainly come back to life in a similar way. But we, you know, live in the midst of complete _laisser-aller_ and anarchy; we artists who love order and symmetry, isolate ourselves and work at introducing a little style into some particular portion of the world.

Puvis knew this very well, and when--clever and honest man that he was--he forgot his Elysian fields, and descended into our age, he painted a very beautiful portrait, "The Jovial Old Man?"--a figure of a man sitting in a blue room, reading a yellow covered book, with a gla.s.s of water, containing a water-colour brush and a rose, at his side. And he also painted a stylish lady such as the Goncourts might have described.

Yes, the Dutch painted things as they were, certainly without reflecting much upon them; as Courbet painted his naked beauties, so they painted portraits, landscapes and still-life subjects. And it is not by any means the most foolish way. But if, owing to the fact that we do not know what to do, we imitate them, we do so only to avoid squandering our modest powers in fruitless metaphysical brooding which cannot press chaos into a tumbler; for that is precisely why it is chaos, because it cannot enter into a tumbler of our calibre.

We are only able--and this is just what these Dutchmen did, who for people with a system were infernally clever,--to paint an atom out of the chaos: a horse, a portrait, a grandmother, apples or a landscape.

{G}

Degas?' painting is manly and impersonal simply because, for his part, he was content to be a simple _bourgeois_ who did not wish to have anything to do with the enjoyment of life. All around him he saw human animals ... living and enjoying themselves, and he painted them well, because, unlike Rubens, he made no pretensions of being a good cavalier or a society man....

Yes, yes, Balzac, that great and powerful artist, said quite rightly that the modern artist is strengthened by being, relatively speaking, chaste. The Dutchmen were married and begat themselves children. That is a fine, in fact a very fine way of filling a life, and quite a natural way too!... One swallow does not make a summer. There may be a good deal of virility in your new Brittany studies; but I am unable to judge as I have not yet seen them. However, I have already seen virile works of yours--the portrait of your grandmother and the still-life. To judge from the drawings I have a slight suspicion that your new Brittany studies do not possess the same power, regarded precisely from the standpoint of virility.

The studies which I mentioned first const.i.tute the spring of your artistic life. If we wish to keep all our strength for our life-work, we must only have very little to do with women and according as our temperament demands, live either like soldiers or monks. For the Dutchmen led a peaceful, quiet and well-ordered life. Delacroix--ah! he was a fine fellow--he used to say: "I discovered the art of painting when I no longer had any more teeth or breath.?" And those who had seen him painting said: "When Delacroix paints, he looks like a lion devouring a piece of flesh.?" He had very little to do with women, and indulged only in loose love affairs{H} so as not to waste any of the time consecrated to his life?'s task. To judge from the opinions expressed in this letter, it would appear to be less in keeping than I should like it to be with our correspondence and friends.h.i.+p of former years; but if from its contents you gather that I am rather anxious about your health, you are right. I know that the study of the Dutchmen must be beneficial; for their works are so full of virility, power and health.

A short time ago I discovered a small etching by Rembrandt and I bought it. It was of a nude figure of a man, realistic and simple. He stands leaning against a door or a pillar, in a dark room, and a ray of suns.h.i.+ne from above strikes the bowed head and its abundant red locks.

The body is conceived with so much truth, and is so vigorous,{I} that it almost reminds me of Degas.

I say, have you carefully studied "The? Ox," or "The Inside of a Butcher?'s Shop?" at the Louvre? I doubt it. I should really greatly enjoy spending a morning with you in the Dutch Galleries. These things are hard to describe; but in front of the actual pictures I could call your attention to such splendid and wonderful things, that beside them the very Primitives themselves take a second place in my admiration. But then I have such a very slight strain of eccentricity in my composition!

A Greek statue, a peasant by Millet, a Dutch portrait, a naked woman by Courbet or Degas; it is beside the serene and elaborate perfection of these things that the works of the Primitives and the j.a.panese seem only like written characters as compared with painting. It really interests me immensely, but a complete work of art, a piece of perfection enables us to conceive infinity; and to enjoy beauty to the full{J} gives one a feeling of eternity.... Do you know a painter called Jan van der Meer?

He painted a very distinguished and beautiful Dutch woman, in pregnancy.

The scale of colours of this strange artist consists of blue, lemon-yellow, pearl-grey, black and white. It is true, in the few pictures he painted the whole range of the palette is to be found; but it is just as characteristic of him to place lemon-yellow, a dull blue, and light grey together, as it is of Velasquez to harmonize black, white, grey and pink. Of course the Dutch painters are too widely distributed over the Museums and collections of the world for us to be able to form any adequate idea of their work, and this is still more difficult when one knows only the Louvre. And yet it is precisely the Frenchmen, Ch. Blanc, Th.o.r.e and Fromentin, who have written the best things about them.

The Dutchmen had no imagination, but they had tremendous taste and an unerring sense of composition; they painted no pictures of the Saviour or of the Saints.... Rembrandt did! That is true; but he is the only one, and even with him pictures containing a genuine Biblical feeling are comparatively rare occurrences;{K} he was the only one to paint pictures of Christ, etc. But his pictures resemble no other kind of religious painting; in his case it is a sort of metaphysical sorcery.