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Paul Gauguin - Gauguin’s Intimate Journals

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Paul Gauguin Gauguin’s Intimate Journals

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These journals are an illuminating self-portrait of a unique personality.They bring sharply into focus for me his goodness, his humor, his insurgent spirit, his clarity of vision, his inordinate hatred of hypocrisy and sham. Emil Gauguin, the artists son, in the Preface.
One of the great innovative figures in modern art, Gauguin was a complex, driven individual who, in 1883, gave up his job as a stockbroker in order to be free to paint every day. As time passed, he determined to sacrifice everything for his artistic vocation. Finally, in pursuit of a place to paint natural men and women living lives unstained by the sham and hypocrisy of civilization, he took up residence in the South Seas, first in Tahiti and, later, in the Marquesas Islands.
Completed during the artists final sojourn in the Marquesas, these revealing journals reprinted from rare limited edition throw much light on the painters inner life and his thoughts about a great many topics. We learn of Gauguins first stay in Paris in 1876, and his initial encounter with Impressionism, his tumultuous relationship with van Gogh when they lived and painted together in Arles, his pithy evaluations of Degas, Czanne, Manet, and other artists; his opinion of art dealers and critics (poor), and much more. Also here are illuminating glimpses of Gauguins life in the islands: his delight in the simple, carefree lives of the natives and the physical charms of Polynesian women, counterbalanced by his struggles with poverty, hatred of the missionaries, and despair over the failures of French colonial justice.
Witty, wide-ranging, and aphoristic, these writings are not only entertaining in themselves, they are crucial for anyone seeking to understand Gauguin and his work. The text is enhanced with 27 full-page illustrations by Gauguin.

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Table of Contents RACKHAMS FAIRIES ELVES AND GOBLINS MORE THAN 80 - photo 1
Table of Contents

RACKHAMS FAIRIES, ELVES AND GOBLINS: MORE THAN 80 FULL-COLOR ILLUSTRATIONS, SELECTED AND EDITED BY JEFF A. MENGES. (0-486-46023-1)

DRAWINGS OF MUCHA, ALPHONSE MUCHA. (O-486-23672-2)

THE ART NOUVEAU STYLE BOOK OF ALPHONSE MUCHA, ALPHONSE MUCHA. (0-486-24044-4)

NIELSENS FAIRY TALE ILLUSTRATIONS IN FULL COLOR, KAY NIELSEN. (O-486-44902-5)

DESTINY: A NOVEL IN PICTURES, OTTO NCKEL. (O-486-45723-0)

WILLY POGANY REDISCOVERED, WILLY POGANY. SELECTED AND EDITED BY JEFF A. MENGES. (0-486-47046-6)

PIRATES, PATRIOTS, AND PRINCESSES: THE ART OF HOWARD PYLE, HOWARD PYLE. SELECTED AND EDITED BY JEFF A. MENGES. (0-486-44832-0)

RACKHAMS COLOR ILLUSTRATIONS FOR WAGNERS RING, ARTHUR RACKHAM. (0-486-23779-6)

SHAKESPEARES A MIDSUMMER NIGHTS DREAM, WILLIAM SHAKESPEARE. ILLUSTRATED BY ARTHUR RACKHAM. (0-486-42833-8)

THE ARTHUR RACKHAM TREASURY: 86 FULL-COLOR ILLUSTRATIONS, ARTHUR RACKHAM. SELECTED AND EDITED BY JEFF A. MENGES. (0-486-44685-9)

RACKHAMS FAIRY TALE ILLUSTRATIONS IN FULL COLOR, ARTHUR RACKHAM. SELECTED AND EDITED BY JEFF A. MENGES. (O-486-42167-8)

THE LIFE OF CHRIST IN WOODCUTS, JAMES REID. (0-486-46884-4)

REMBRANDT DRAWINGS: 116 MASTERPIECES IN ORIGINAL COLOR, REMBRANDT VAN RIJN. (0-486-46149-1)

RODIN ON ART AND ARTISTS, AUGUSTE RODIN. (0-486-24487-3)

A FLIGHT OF BUTTERFLIES, KANZAKA SEKKA. (0-486-44835-5)

150 MASTERPIECES OF DRAWING, SELECTED BY ANTHONY TONEY. (0-486-21032-4)

PHOBIA: AN ART DECO GRAPHIC MASTERPIECE, JOHN VASSOS. WITH AN INTRODUCTION BY DAVID A. BERON. (0-486-47032-6)

ARTISTIC PLANTS AND FLOWERS, EDITED BY M. P. VERNEUIL. (0-486-47251-5)

VERTIGO: A NOVEL IN WOODCUTS, LYND WARD. WITH AN INTRODUCTION BY DAVID A. BERON. (0-486-46889-5)

GODS MAN: A NOVEL IN WOODCUTS, LYND WARD. (O-486-43500-8)

WILD PILGRIMAGE: A NOVEL IN WOODCUTS, LYND WARD. (0-486-46583-7)

MAD MANS DRUM: A NOVEL IN WOODCUTS, LYND WARD. (0-486-44500-3)

ERIC SLOANES AMERICA: PAINTINGS IN OIL, MICHAEL WIGLEY. WITH A FOREWORD BY MIMI SLOANE. (0-486-46525-X)

ROMAN MOSAICS: OVER 60 FULL-COLOR IMAGES FROM THE 4TH THROUGH THE 13TH CENTURIES, JOSEPH WILPERT. (0-486-45469-X)

SEE EVERY DOVER BOOK IN PRINT AT
WWW.DOVERPUBLICATIONS.COM

PAUL GAUGUINS INTIMATE JOURNALS

This is not a book. A book, even a bad book, is a serious affair. A phrase that might be excellent in the fourth chapter would be all wrong in the second, and it is not everybody who knows the trick.

A novelwhere does it begin, where does it end? The intelligent Camille Mauclair gives us this as its definitive form; the question is settled till a new Mauclair comes and announces to us a new form.

True to life! Isnt reality sufficient for us to dispense with writing about it? And besides, one changes. There was a time when I hated Georges Sand. Now Georges Ohnet makes her seem almost supportable to me. In the books of Emile Zola the washerwomen and the concierges speak a French that fills me with anything but enthusiasm. When they stop talking, Zola, without realizing it, continues in the same tone and in the same French.

I have no desire to speak ill of him. I am not a writer. I should like to write as I paint my pictures,that is to say, following my fancy, following the moon, and finding the title long afterwards.

Memoirs! That means history, dates. Everything in them is interesting except the author. And one has to say who one is and where one comes from. To confess oneself in the manner of Jean Jacques Rousseau is a serious matter. If I tell you that, on my mothers side, I descend from a Borgia of Aragon, Viceroy of Peru, you will say it is not true and that I am giving myself airs. But if I tell you that this family is a family of scavengers, you will despise me.

If I tell you that, on my fathers side, they are all called Gauguin, you will say that this is absolutely childish; if I explain myself on the subject, with the idea of convincing you that I am not a bastard, you will smile sceptically.

The best thing would be to hold my tongue, but it is a strain to hold ones tongue when one is full of a desire to talk. Some people have an end in life, others have none. For a long time I had virtue dinned into me; I know all about that but I do not like it. Life is hardly more than the fraction of a second. Such a little time to prepare oneself for eternity!!!

I should like to be a pig: man alone can be ridiculous.

Once upon a time the wild animals, the big ones, used to roar; today they are stuffed. Yesterday I belonged to the nineteenth century; today I belong to the twentieth and I assure you that you and I are not going to see the twenty-first. Life being what it is, one dreams of revengeand has to content oneself with dreaming. Yet I am not one of those who speak ill of life. You suffer, but you also enjoy, and however brief that enjoyment has been, it is the thing you remember. I like the philosophers, except when they bore me or when they are pedantic. I like women, too; when they are fat and vicious; their intelligence annoys me; its too spiritual for me. I have always wanted a mistress who was fat and I have never found one. To make a fool of me, they are always pregnant.

This does not mean that I am not susceptible to beauty, but simply that my senses will have none of it. As you perceive, I do not know love. To say I love you would break all my teeth. So much to show you that I am anything but a poet. A poet without love!! Women, who are shrewd, divine this, and for this reason I repel them.

I have no complaint to make. Like Jesus I say, The flesh is the flesh, the spirit is the spirit. Thanks to this, a small sum of money satisfies my flesh and my spirit is left in peace.

Here I am, then, offered to the public like an animal, stripped of all sentiment, incapable of selling his soul for any Gretchen. I have not been a Werther, and I shall not be a Faust. Who knows? The syphilitic and the alcoholic will perhaps be the men of the future. It looks to me as if morality, like the sciences and all the rest, were on its way toward a quite new morality which will perhaps be the opposite of that of today. Marriage, the family, and ever so many good things which they din into my ears, seem to be dashing off at full speed in an automobile.

Do you expect me to agree with you?

Whom one gets into bed with is no light matter.

In marriage, the greater cuckold of the two is the lover, whom a play at the Palais Royal calls the luckiest of the three.

I had bought some photographs at Port Said. The sin committed ab ores . They were set up quite frankly in an alcove in my quarters. Men, women and children laughed at them, nearly everyone, in fact; but it was a matter of a moment, and no one thought any more of it. Only the people who called themselves respectable stopped coming to my house, and they alone thought about it the whole year through. The bishop, at confession, made all sorts of enquiries; some of the nuns, even, turned paler and paler and grew hollow-eyed over it.

Think this over and nail up some indecency in plain sight over your door; from that time forward you will be rid of all respectable people, the most insupportable folk God has created.

I have known, everyone knows, everyone will continue to know, that two and two make four. It is a long way from convention, from mere intuition, to real understanding. I agree, and like everyone else I say, Two and two make four.... But this irritates me; it quite upsets my way of thinking. Thus, for example, you who insist that two and two make four, as if it were a certainty that could not possibly be otherwise,why do you also maintain that God is the creator of everything? If only for an instant, could not God have arranged things differently?

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