Part 4 (1/2)
As soon as the boat had drawn sufficiently near, the man on horseback entered the water and soon returned with the anchor.
Then the boatmen were carried ash.o.r.e on the shoulders of men wearing jack-boots, and happy cries of welcome greeted each new arrival.
When they were all a.s.sembled on land, the whole party walked to their homes like a flock of sheep or a caravan, led by the man on the camel--I mean on the horse--who soared above the little crowd like a huge shadow.
[Ill.u.s.tration]
I naturally made the most frantic efforts to sketch the various incidents. I also painted a little, especially the small group, of which I give you a thumb-nail sketch herewith.... From the accompanying drawing you will be able to tell what I am endeavouring to do--that is, to represent groups of people pursuing this or that occupation. But how hard it is to make things look busy and alive, and to make the figures take their place and yet stand out from one another! It is a difficult thing to render the swaying of the crowd and a group of figures of which some are head and shoulders above the rest, though they all form a whole when seen from above. Whereas the legs of the nearest figures stand out distinctly in the foreground, the coats and trousers behind and above form a most bewildering muddle, in which, however, there is plenty of drawing. And then right and left, according to the point of vision, there is the further expansion or foreshortening of the sides.
Every kind of scene and figure suggests a good composition to me--a market, the arrival of a boat, a group of men outside a soup-kitchen, the crowds wandering and gossiping in the streets--on the same principle as a flock of sheep--and it is all a matter of light and shade and perspective.
It really is strange that you and I should always have the same thoughts. Last night, for instance, I returned from the wood with a study--for this week I have been particularly busy investigating the question of increasing the intensity of colour--and I should have been glad to discuss this matter with you in connection with the study I had made, when lo and behold! in your letter this morning, you just happen to mention the fact that you were struck with the strong and yet harmonious colouring in Montmartre.
...Yesterday evening I was busy painting the gently rising ground in the wood, which is all strewn with dry withered beech leaves. It varied in colour from a light to a dark red-brown, and the cast shadows of the trees fell across it in faint or strongly marked stripes. The difficulty was--and I found it very trying--to succeed in getting the depth of the colour and the enormous strength and solidity of the ground--and I noticed while I worked how much light there was even in the dark shadows! The thing was to render the effect of light and also the glow, and not to lose the depth of rich colour. For one cannot imagine a more magnificent carpet than that deep red-brown ground, bathed in the glow of the autumn evening sunlight, softened by its pa.s.sage through the trees.
Beech trees grow here, the trunks of which look bright green in the clear light and a warm black-green in the shade. Behind the trunks, above the red-brown ground one could see the delicate blue and warm gray of the sky--it was scarcely blue--and in front of it a diaphanous haze of green, and a maze of trees with golden leaves. The forms of a few peasants gathering wood crept about like dark mysterious shadows, while the white bonnet of a woman bending to gather a few dried twigs suddenly stood out from the deep red-brown of the earth. A coat caught the light, a shadow was cast, and the dark silhouette of a man appeared high on the edge of the wood. The white bonnet, the shoulders, and bust of a woman stood out against the sky. The figures were large and full of poetry and, in the twilight of the deep shadows, seemed like gigantic terracottas fas.h.i.+oned in a studio. That is how I describe Nature to you.
How far I have rendered the effect in my sketch, I do not know. I can only say that I was struck by the harmony of green, red, black, yellow, blue, and gray. It was quite in the style of de Groux; the effect was like that in the sketch of the ”Depart du Conscrit.?”
To paint it was a herculean task. On the ground alone I used one and a half large tubes of white; and yet it is still very dark. I also used red, yellow, brown, yellow-ochre, black, raw sienna and bistre--and the result is a red-brown, which varies from a deep wine-red to a delicate pale pink. It is very difficult to succeed in getting the colour of the moss and the effect of the small border of fresh gra.s.s which shone so brightly in the sunlight. Believe me, this is a sketch which, if I may say so, people will think something of, for it makes a decided appeal.
While working upon it, I said to myself: ”Do not put down your palette before your picture seems to partake of the mood of an autumn evening, before it is instinct with mystery and with a certain deep earnestness.”
But, in order not to lose the effect, I have to paint quickly. The figures are painted in rapidly with a few vigorous and firm brush-strokes. I was struck with the st.u.r.dy manner in which the tree-trunks strike their roots into the ground. I began painting them with the brush and I did not succeed in rendering the character of the ground which was already laid on with thick colour,--a stroke of the brush vanished to nothing upon it. That is why I pressed the roots and trunks out of the tubes direct, and then modelled them a little with the brush. And now they do indeed stand in the soil, and grow out of it, and strike firm roots into it.
In a sense I am glad that I never learnt to paint. If I had I should perhaps have learnt to overlook such effects. Now I say, ”No!--this and only this must I have, and if it is impossible, well then, it is impossible, that?'s all. I will have a shot at it although I do not know the right way to do it.”
I really do not know how I paint. Armed with a white panel I take up a position in front of the spot that interests me, contemplate what lies before me, and say to myself ”That white panel must be turned into something.” Dissatisfied with my work I return home, put my panel out of sight, and after taking a little rest, go back to my work, almost with qualms to see what it looks like. But even then I am not yet satisfied, for glorious Nature is still too vividly stamped upon my mind.
Nevertheless I find in my work a certain reverberation of that which fascinated me. I know that Nature told me something, that she spoke to me, and that I took down her message in shorthand. Perhaps my stenographic transcript contains words that are undecipherable; belike there are faults and omissions in it too; still it may possess something that the wood, the beach, or the figures said. And this is never in a tame or conventional language that did not spring from Nature herself.
As you perceive, I am entering heart and soul into painting, and I am deeply engaged in the study of colour. Hitherto I had held myself aloof from it, and I am not sorry that I did. Had I not drawn, I could have no feeling for a figure that looks like an unfinished terracotta, nor could I have undertaken to paint such a thing. Now, however, I feel that I am in mid-sea--now I must set about painting with all the strength at my command.
...I am certain that I have the feeling for colour, that I shall acquire it more and more, and that painting is in my very marrow.
It is not the extravagant use of paint that makes the painter. But, in order to lend vigour to a piece of ground and to make the air clear, one should not be particular about a tube or two. Often the very spirit of the thing one is painting leads one to paint thinly; at other times the subject, the very nature of the things themselves, compels one to lay the colour on thickly.
At Mauve?'s studio--who compared with J. Maris, and to an even greater extent with Millet or Jules Dupre, uses paint very moderately--there are as many old cigar boxes filled with empty tubes as there are empty bottles in the corner of a room after an evening?'s bout (as Zola describes such a function, for instance).
You inquire after my health. How is yours? I should say that my treatment ought to suit you--_i.e._, to be out in the air and to paint.
I am quite well. I have to pay for a little fatigue, but still on the whole I feel if anything rather better. I believe it is a good thing for me to lead such a temperate life. But that which does me the most good of all is painting.
DEAR THEO,
I wish that the three pictures, about which I wrote to you, had already been despatched. I fear that if I keep them here much longer, I may paint them over again, and I believe it would be better for you to get them just as they are.
Don?'t you think that, after all, it is better for us two to work diligently, even though we have to put up with a good deal in so doing, than to sit down and philosophize, especially at a time like the present? I do not know the future, Theo; but I know the eternal law of change. Think how different things were ten years ago--the circ.u.mstances of everyday life, the att.i.tude of men?'s minds, in fact everything; and ten years hence many other things will have changed also. But fancy having created something lasting! And one does not repent so soon for having created something. The busier I am the better; I prefer a piece of work that is a failure to inactivity.
We shall not have to wait so very long before what we are now producing will have become important. You yourself can see well enough--and it is one of the signs of the times with which I am most pleased--that there is a growing tendency for people to give one-man shows, or exhibitions of the work of a few men who belong to the same school. In my opinion this is a development in the art-dealing world which will have a far greater future than other enterprises. What a good thing it is that people are beginning to understand that the effect is bad when a Bouguereau is placed beside a Jacques, or a figure by Beyle or Lhermitte is hung close to a Schelfhout or a Koekkoek.