The New York herald., 1922-05-21
Paul Gauguin's
Letters in English

The letters of Paul Gauguin to
Georges Daniel de Montfried have
been translated by Ruth Pielkovo and
published by Dodd, Mead & Co.. the
foreword being by Frederick O'Brien.
These letters almost cried aloud for
translation, for in them the much
maligned, much misunderstood genius
draws his own full length portrait.
Gauguin was, it is true, rough GUS
toner, but heretofore enemies and
misguided friends have emphasized
his roughnesses to such a degree that
he seemed no longer human. In the
letters his robust humanity comes out
so forcefully that his ''roughness' be-
comes a triumphant frankness that
accuses SNUG and complacent city
dwellers of hypocrisy. There is much
in the frank. full outcry that Gauguin
makes to his friend that is not in
strict conformity with the teachings
OF American books of etiquette. but
since the Confessions" Of Rousseau
and the novels of Balzac are now con-
sidered part of the education of the
well informed. it is impossible to think
that any but the fussy will be shocked.
ana tle IuSSy 10 not COUNT.
On the other hand, there is a con-
stant stream of CHEEKY art talk that
will prove immensely stimulating to
our artists. II is like being admitted
to the inner circle at the Cafe Guer-
bois and hearing the inside secrets OF
the events that were afterward to be-
come famous. Gauguin was a true
child of Henri Murger. and his ennuis
were incessant. but now that his life
IS finished and his place secure. his
ennuis seem amusing rather than not.
His frantic exhortations to Monfried
ss TO the best ways to sell have con-
siderable wisdom in them that present
young geniuses in difficulties will pom
der over with respect His talks about
methods and the conditions necessary
for production will also hold their at
tention. 1t is possible to differ with
Gauguin about certain tricks OF the
profession, and IL is also possible to
feel that many Of the agonies he went
through followed inevitably and legiti-
mateIy upon his rashness OF conduct,
but IL is impossible to close the book
without an overwhelming admiration
for the greatness of his spirit. One
may laugh at him and weep with him,
but to criticize him as a human being
would be petty.
Mr.. O'Brien says in his foreword ''he
is one of the most heartening men I
know OF. AS a painter he was abso-
lutely necessary to his age which was
fast hardening into a wretched scientific
precision and which had abandoned SIM
plicty and breadth. AS a human be-
ing he evinced an incredible aversion to
the machine efficiency that he thought
was destroying the race. and he fought
this threat Of annihilation--as he be-
lieved--with a tenn city and an unset.
flshness that must light flame IN the
hearts OF all thinkers. though Il killed
Cauguin In middle age. Unable 10 adj
3ust himself TO anything about him
efther in Europe or in the South Seas,
be yielded only TO death, and that stole
upon him as he was smiling at his own
/ plight"
a quotation or two from the letters
will give artists an idea of what to ex-
pect from them. Speaking OF the "D'ou
vcnons-nous-que sommes-nous-ou alions.
Sous?" his masterpiece. he writes: "The
seore look at II the more realize
5s enormous mathematical faults. but
would not retouch Il for anything. 10
rouat remain as II is--only a sketch
~ you like. Yet this question comes up
and perplexcs me Where does the exc