Frasi di Paul Gauguin (42 frasi, pagina 2)

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Paul Gauguin Frasi e Citazioni

“Se… si tira una tenda davanti al modello, e si dipinge a memoria, le sensazioni si semplificano attraverso la memoria, e l'effetto che deriva è sintetico, senza dettagli, risultante da rapporti piuttosto che da immagini. Alla forma sintetica corrisponde un contenuto appropriato: è il mistero e l'infinito.”

Paul Gauguin

Memoria , Sensazione

Paul Gauguin: Frasi in inglese

“I borrow some subject or other from life or from nature, and, using it as a pretext, I arrange lines and colors so as to obtain symphonies, harmonies that do not represent a thing that is real, in the vulgar sense of the word, and do not directly express any idea, but are supposed to make you think the way music is supposed to make you think, unaided by ideas or images, simply through the mysterious affinities that exist between our brains and such arrangements of colors and lines.”

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Paul Gauguin

Origine: 1870s - 1880s, The Writings of a Savage (1996), p. 109

“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.”

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Paul Gauguin

Origine: 1890s - 1910s, The Writings of a Savage (1996), p. 160: Gauguin's quote in his letter from Tahiti to a friend, c. 1899

“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?”

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Paul Gauguin

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
1890s - 1910s

“The critic asks me: 'So you are a Symbolist? I mean well and I would like to learn; why don't you explain Symbolism to me'.. I answer...'Well, my paintings probably speak Hebrew, which you do not understand, so there is no point in continuing the conversation.”

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Paul Gauguin

Origine: 1890s - 1910s, The Writings of a Savage (1996), p. 130: quote in 1898

“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.”

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Paul Gauguin

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

“In order to produce something new, you have to return to the original source, to the childhood of mankind.”

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Paul Gauguin

Origine: 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)

“[In] painting…all sensations are condensed, everyone…with a single glance [has] his soul invaded by the most profound recollections…everything is summed up in one instant. Like music, it acts on the soul through the intermediary of the senses: harmonious colors correspond to the harmonies of sound.”

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Paul Gauguin

Quote from Gauguin's unfinished essay 'Notes Synthetiques', published in the July / September 1910 issue of ' Vers et Prose' XXII, pp. 51-55, as cited in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 23
Gauguin's essay 'Notes Synthetiques' was written in Pont -Aven in 1888 and left incomplete. His essay was first published in 'Vers et Prose' XXII
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.”

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Paul Gauguin

late quote about the start of his famous large painting 'Where do we come from? What are we? Where are we going'
Origine: 1890s - 1910s, The Writings of a Savage (1996), pp. 159-160: in a letter from Tahiti to a friend, 1898

“No one wants my painting because it is different from other people's — peculiar, crazy public that demands the greatest possible degree of originality on the painter's part and yet won't accept him unless his work resembles that of the others!”

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Paul Gauguin

Origine: 1890s - 1910s, The Writings of a Savage (1996), p. 205: in a letter to Ambroise Vollard, January 1900

“freely and madly; you will make progress... Above all, don't sweat over a painting; a great sentiment can be rendered immediately..”

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Paul Gauguin

1870s - 1880s, The Writings of a Savage (1996)

“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.”

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Paul Gauguin

Originale: 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.
Origine: 1890s - 1910s, The Writings of a Savage (1996), p. 105: quote from his letter to August Strindberg (5 May 1895)