The Letters of a Post-Impressionist Part 16

ursurped the place of higher and holier aims=>usurped the place of higher and holier aims {pg x.x.xiv}

Gaugin=> Gauguin {x6}

Another and even more stiking example=> Another and even more striking example {pg 8}

dry withered beach leaves=> dry withered beech leaves {pg 12}

as far as as I was able to judge=>as far as I was able to judge {pg 25}

I believe it is bettter to sc.r.a.pe=> I believe it is better to sc.r.a.pe {pg 26}

simply because it it is his nature to do so=> simply because it is his nature to do so {pg 37}

in which everything was arranged with architectual method=> in which everything was arranged with architectural method {pg 59}

he would certainly not think lighty of this talent=> he would certainly not think lightly of this talent {pg 78}

is to found on the palettes of the Dutch painters=> is to be found on the palettes of the Dutch painters {pg 92}

Everywhere a cadium yellow=> Everywhere a cadmium yellow {pg 95}

small head of of the Brittany girl=> small head of the Brittany girl {pg 127}

FOOTNOTES:

[1] 1 See "Mercure? de France," vol. 48, p. 127 (Oct. 1903), Article, "Paul? Gauguin," by Charles Morice.

[2] "Mercure? de France," vol. 48 (Oct. 1903), p. 127.

[3] That Vincent also often felt depressed about his work may be gathered from the following pa.s.sage, taken from a letter to his brother, not included in this volume: "C?'est une perspective a.s.sez triste de devoir se dire que jamais la peinture que je fais n?'aura une valeur quelconque.?"

[4] See Emile Bernard?'s preface to his publication of Van Gogh?'s letters in the "Mercure? de France," vol. 7, p. 324.

[5] As to how he overcame his academic period, see Meier Graefe?'s work, "Impressionisten?" (p. 122) where the author has some interesting things to say.

[6] "Mercure? de France," vol. 48 (1903), p. 105.

[7] The italics are mine.--A. M. L.

[8] Not included in this collection of letters.

[9] I could not discover who the owner was; but the present number of the exhibit is 984F and the picture is marked "_In Bruikleen_?" = lent.

[10] I have reasons to believe that this wonderful picture was sold by the Sonderbund people at the very time of my visit to Cologne for the sum of 450. But I was unable to discover the name of the new owner.

[11] See particularly his picture No. 1105 at the Ryksmuseum, Amsterdam.

[12] I wonder if it is to this work that Gauguin refers when, speaking of the progress Van Gogh was making under his tuition, he asks Morice: "Avez-vous vu la gure et les cheveux, jaune de chrome??"

[13] "Mercure? de France," vol. 48 (1903), p. 127.

[14] Ibid., p. 129.

[15] Both belonging to Galerie E. Druet in 1911.

[16] Belonging to Bernheim Jeune in 1911.

[17] "Mercure? de France," vol. 13 (1895).

[18] "Impressionisten,?" p. 128. By-the-bye, Meier Graefe does not say why he thinks this, nor does he reveal the source of his judgment.

[19] "Mercure? de France," vol. 48, p. 126.

[20] At Amsterdam. The picture here referred to, which, as far as I was able to judge, measured 10 in. by 6 in., represents a monk seated by the side of a sick or dying man?'s bed.--Tr.

[21] A word suggesting bold virtuosity in expressing an impression.--Tr.

[22] The German is _wanzenartig_, but the above rendering gives, I think, a better idea of Van Gogh?'s meaning than a literal translation would.--Tr.

[23] Van Gogh must be referring, here, to j.a.panese prints which have undergone a process of c.r.a.ping. For details of this process see "j.a.panese Colour Prints?" by E. F. Strange (pp. 110, 111).--TR.

[24] This sentence does not seem to make sense, even in the French, without this interpolation.--Tr.

[25] The writer is undoubtedly referring to the St. Matthew in the Louvre.

[26] In the Middle Ages these were corporations consisting of all people engaged in the writing and general production of books, as at Antwerp, for instance. These guilds, which in other places, as at Bruges, were also called St. John Guilds, were often joined by the first printers, until their numbers in any particular town allowed them to form a guild of their own.--Tr.

[27] The German is "No. 30 Quadrat,?" which is rendered approximately by the above.--Tr.

[28] German "No. 30.?"--Tr.

[29] The German is: _zwei Bilden in Breitformat_. The only English term which appears to be used to designate a picture the horizon line of which runs parallel to the longest sides of the canvas, and which is therefore the reverse of an "upright,?" is "landscape-shape.?"--TR.

[30] See note on p. 40.

[31] See note on p. 91.

[32] Ger. "No. 15.?"--Tr.

[33] See note, p. 40.

[34] These figures are approximate only. The German equivalents are Nos.

25, 30, and 20.--Tr.

[35] See note p. 91.