Paul Gauguin, before he went to the equator, saw the impending5 change. He was weary of a Paris where everything had been painted, described, modelled, so he sailed for Tahiti, landing at Papeete. Even there he found the taint6 of European ideas, and after the funeral of King Pomaré and an interlude of flirtation7 with an absinthe-drinking native princess, niece of the departed royalty8 (he made a masterly portrait of her), he fled to the interior and told his experiences in Noa Noa, The Land of Lovely Scents9. This little book, illustrated10 with appropriate sketches11 by the author-painter, is a highly important contribution to the scanty12 literature dealing13 with Gauguin. I've read Charles Morice and Emil Bernard, but beyond telling us details about the Pont-Aven School and the art and madness of gifted Vincent Van Gogh, both are reticent14 about Gauguin's pilgrimage to the South Seas. We knew why he went there, now we know what he did while he was there. The conclusion of the book is illuminating15. "I returned to Paris two years older than when I left, but feeling twenty years younger."
The cause of this rejuvenation16 was a complete change in his habits. With an extraordinary frankness, not at all in the perfumed manner of that eternal philanderer17, Pierre Loti, this [Pg 237] one-time sailor before the mast, this explosive, dissipated, hard-living Paul Gauguin became as a child, simulating as well as could an artificial civilised Parisian with sick nerves the childlike attitude toward nature that he observed in his companions, the gentle Tahitians. He married a Maori, a trial marriage, oblivious18 of the fact that he had left behind him in France a wife and children, and, clothed in the native girdle, he roamed the island naked, unashamed, free, happy. With the burden of European customs from his shoulders, his almost moribund19 interest in his art revived. Gauguin there experienced visions, was haunted by exotic spirits. One picture is the black goddess of evil, whom he has painted as she lies on a couch with a white background, a colour inversion20 of Manet's Olympe. With the cosmology of the islanders the Frenchman was familiar.
He has, in addition to portraying21 the natives, made an agreeable exposition of their ways and days, and their na?ve blending of Christian22 and Maori beliefs. His description of the festival called Areosis is startling. Magical practices, with their attendant cruelties and voluptuousness23, still prevail in Tahiti, though only at certain intervals24. Very superstitious25, the natives see demons26 and fairies in every bush.
The flowerlike beauty of the brown women comes in for much praise, though to be truthful27, the ladies on his canvases seem far from beautiful to prejudiced Occidental eyes. This [Pg 238] Noa Noa is a refreshing28 contribution to the psychology29 of a painter who, in broad daylight dreamed fantastic visions, a painter to whom the world was but a painted vision, as the music of Richard Wagner is painted music overheard in another world.
"A painter is either a revolutionist or a plagiarist," said Paul Gauguin. But the tricksy god of irony30 has decreed that, if he lasts long enough, every anarch will end as a conservative, upon which consoling epigram let us pause.
If I were to write a coda to the foregoing, loosely heaped notes, I might add that beauty and ugliness, sickness and health, are only relative terms. The truth is the normal never happens in art or life, so whenever you hear a painter or professor of ?sthetics preaching the "gospel of health in art" you will know that both are preaching pro1 domo. The kingdom of art contains many mansions31, and in even the greatest art there may be found the morbid32, the feverish33, the sick, or the mad. Such a world-genius as Albrecht Dürer had his moment of "Melencolia," and what can't you detect in Da Vinci or Michael Angelo if you are overcurious?
"Beauty," like that other deadly phrase, "beautiful drawing," is ever the shibboleth34 of the mediocre35, of imitators, in a word, of the academy. These men of narrow vision pin their faith to Ingres (which is laudable enough), but groan36 if the "mighty37 line" of Degas is mentioned; yet Degas, a pupil of Ingres, has continued [Pg 239] his master's tradition in the only way tradition should be continued, i. e., by further development and by adding an individual note. Therefore, when I register my overwhelming admiration38 for Velasquez, Vermeer, and Rembrandt I do not bind39 myself to close my eyes to originality40, personal charm, or character in the newer men. There is no such thing as schools of art; there are only artists.
点击收听单词发音
1 pro | |
n.赞成,赞成的意见,赞成者 | |
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2 vengeance | |
n.报复,报仇,复仇 | |
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3 flouted | |
v.藐视,轻视( flout的过去式和过去分词 ) | |
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4 cylinders | |
n.圆筒( cylinder的名词复数 );圆柱;汽缸;(尤指用作容器的)圆筒状物 | |
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5 impending | |
a.imminent, about to come or happen | |
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6 taint | |
n.污点;感染;腐坏;v.使感染;污染 | |
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7 flirtation | |
n.调情,调戏,挑逗 | |
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8 royalty | |
n.皇家,皇族 | |
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9 scents | |
n.香水( scent的名词复数 );气味;(动物的)臭迹;(尤指狗的)嗅觉 | |
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10 illustrated | |
adj. 有插图的,列举的 动词illustrate的过去式和过去分词 | |
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11 sketches | |
n.草图( sketch的名词复数 );素描;速写;梗概 | |
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12 scanty | |
adj.缺乏的,仅有的,节省的,狭小的,不够的 | |
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13 dealing | |
n.经商方法,待人态度 | |
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14 reticent | |
adj.沉默寡言的;言不如意的 | |
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15 illuminating | |
a.富于启发性的,有助阐明的 | |
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16 rejuvenation | |
n. 复原,再生, 更新, 嫩化, 恢复 | |
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17 philanderer | |
n.爱和女人调情的男人,玩弄女性的男人 | |
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18 oblivious | |
adj.易忘的,遗忘的,忘却的,健忘的 | |
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19 moribund | |
adj.即将结束的,垂死的 | |
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20 inversion | |
n.反向,倒转,倒置 | |
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21 portraying | |
v.画像( portray的现在分词 );描述;描绘;描画 | |
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22 Christian | |
adj.基督教徒的;n.基督教徒 | |
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23 voluptuousness | |
n.风骚,体态丰满 | |
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24 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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25 superstitious | |
adj.迷信的 | |
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26 demons | |
n.恶人( demon的名词复数 );恶魔;精力过人的人;邪念 | |
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27 truthful | |
adj.真实的,说实话的,诚实的 | |
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28 refreshing | |
adj.使精神振作的,使人清爽的,使人喜欢的 | |
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29 psychology | |
n.心理,心理学,心理状态 | |
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30 irony | |
n.反语,冷嘲;具有讽刺意味的事,嘲弄 | |
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31 mansions | |
n.宅第,公馆,大厦( mansion的名词复数 ) | |
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32 morbid | |
adj.病的;致病的;病态的;可怕的 | |
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33 feverish | |
adj.发烧的,狂热的,兴奋的 | |
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34 shibboleth | |
n.陈规陋习;口令;暗语 | |
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35 mediocre | |
adj.平常的,普通的 | |
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36 groan | |
vi./n.呻吟,抱怨;(发出)呻吟般的声音 | |
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37 mighty | |
adj.强有力的;巨大的 | |
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38 admiration | |
n.钦佩,赞美,羡慕 | |
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39 bind | |
vt.捆,包扎;装订;约束;使凝固;vi.变硬 | |
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40 originality | |
n.创造力,独创性;新颖 | |
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