I saw the first Paul Gauguin exhibition at Durand-Ruel's in Paris years ago. I recall contemporary [Pg 254] criticism. "The figures are outlined in firm strokes and painted in broad, flat tints9 on canvas that has the texture10 of tapestry11. Many of these works are made repulsive12 by their aspect of multicoloured crude and barbarous imagery. Yet one cannot but acknowledge the fundamental qualities, the lovely values, the ornamental13 taste, and the impression of primitive14 animalism." Since that rather faint praise Gauguin is aloft with the Olympians. His art is essentially15 classic. Again his new themes puzzled critics. A decorative16 painter born, he is fit for the company of Baudry the eclectic, Moreau the symbolist, Puvis de Chavannes, greatest of modern mural painters, and the starlit Besnard. A rolling stone was Gauguin, one that gathered no stale moss17. He saw with eyes that at Tahiti became "innocent." The novelty of the flora18 and fauna19 there should not be overlooked in this artistic recrudescence. His natural inclination20 toward decorative subjects rekindled21 in the presence of the tropical wilderness22; at every step he discovered new motives23. The very largeness of the forms about him, whether human, vegetable, or floral, appealed to his bold brush, and I think that critics should take this into consideration before declaring his southern pictures garish24. They often seem so, but then the sunset there is glaring, the shadows ponderous25 and full of harsh complementary reflects, while humanity wears another aspect in this southern island where distance is annihilated26 [Pg 255] by the clarity of the atmosphere. No, Paul Gauguin is certainly not a plagiarist27. Clive Bell has written: "Great artists never look back." I believe the opposite; all great artists look back and from the past create a new synthesis.
Wells has said: "Better plunder28 than paralysis29," the obverse of Gauguin's teaching, and if Vincent Van Gogh "plundered30" in his youth it was not because he feared "paralysis." He merely practised his scales in private before attempting public performance. Remember that none of these revolutionary artists jumped overboard in the beginning without swimming-bladders. They were all, and are all, men who have served their technical apprenticeship31 before rebellion and complete self-expression.
The gods of Van Gogh were Rembrandt, Delacroix, Daumier, Monticelli, and Millet32. The latter was a veritable passion with him. He said of him, and the remark was a sign-post for his own future: "Rembrandt and Delacroix painted the person of Jesus, Millet his teaching." This preoccupation with moral ideas lent a marked intensity33 to his narrow temperament. Ill-balanced he was; there was madness in the family; both his brother and himself committed suicide. His adoration34 of Monticelli and his jewelled style led him to Impressionism. But colour for colour's sake or optical illusion did not long hold him. The overloaded35 paint in his earlier works soon gave way to flat [Pg 256] modelling. His effects are achieved by sweeping36 contours instead of a series of planes. There are weight, sharp silhouettes37, and cruel analysis. His colour harmonies are brilliant, dissociated from our notions of the normal. He is a genuine realist as opposed to the decorative classicism of Gauguin. His work was not much affected38 by Gauguin, though he has been classed in the same school. Cézanne openly repudiated39 both men. "A sun in his head and a hurricane in his heart," was said of him, as it was first said of Delacroix by a critical contemporary. Vincent Van Gogh is, to my way of thinking, the greatest genius of the trio under discussion. After them followed the Uglicists and the passionate40 patterns and emotional curves of the Cubists.
Henri Matisse has science, he is responsive to all the inflections of the human form, and has at his finger-tips all the nuances of colour. He is one of those lucky men for whom the simplest elements suffice to create a living art. With a few touches a flower, a woman, grow before your eyes. He is a magician, and when his taste for experimenting with deformations41 changes we may expect a gallery of masterpieces. At present, pushed by friends and foes42, he can't resist the temptation to explode fire-crackers on the front stoop of the Institute. But a master of line, of decoration, of alluring43 rhythms. Whistler went to Japan on an artistic adventure. Matisse has gone to China, where [Pg 257] rhythm, not imitation, is the chiefest quality in art.
Such men as Matisse, Augustus John, and Arthur B. Davies excel as draughtsmen. The sketches44 of the first-named are those of a sculptor45, almost instantaneous notations46 of attitudes and gestures. The movement, not the mass, is the goal sought for by all of them. The usual crowd of charlatans47, camp-followers, hangers-on may be found loudly praising their own wares48 in this Neo-Impressionist school—if school it be—but it is only fair to judge the most serious and gifted painters and sculptors49 of the day. Already there are signs that the extremists, contortionists, hysterical50 humbugs51, Zonists, Futurists, and fakers generally are disappearing. What is good will abide52, as is the case with Impressionism; light and atmosphere are its lessons; the later men have other ideals: form and rhythm, and a more spiritual interpretation53 of "facts."
点击收听单词发音
1 sincerity | |
n.真诚,诚意;真实 | |
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2 pigment | |
n.天然色素,干粉颜料 | |
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3 temperament | |
n.气质,性格,性情 | |
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4 progenitor | |
n.祖先,先驱 | |
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5 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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6 disciples | |
n.信徒( disciple的名词复数 );门徒;耶稣的信徒;(尤指)耶稣十二门徒之一 | |
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7 truthful | |
adj.真实的,说实话的,诚实的 | |
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8 density | |
n.密集,密度,浓度 | |
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9 tints | |
色彩( tint的名词复数 ); 带白的颜色; (淡色)染发剂; 痕迹 | |
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10 texture | |
n.(织物)质地;(材料)构造;结构;肌理 | |
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11 tapestry | |
n.挂毯,丰富多采的画面 | |
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12 repulsive | |
adj.排斥的,使人反感的 | |
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13 ornamental | |
adj.装饰的;作装饰用的;n.装饰品;观赏植物 | |
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14 primitive | |
adj.原始的;简单的;n.原(始)人,原始事物 | |
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15 essentially | |
adv.本质上,实质上,基本上 | |
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16 decorative | |
adj.装饰的,可作装饰的 | |
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17 moss | |
n.苔,藓,地衣 | |
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18 flora | |
n.(某一地区的)植物群 | |
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19 fauna | |
n.(一个地区或时代的)所有动物,动物区系 | |
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20 inclination | |
n.倾斜;点头;弯腰;斜坡;倾度;倾向;爱好 | |
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21 rekindled | |
v.使再燃( rekindle的过去式和过去分词 ) | |
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22 wilderness | |
n.杳无人烟的一片陆地、水等,荒漠 | |
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23 motives | |
n.动机,目的( motive的名词复数 ) | |
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24 garish | |
adj.华丽而俗气的,华而不实的 | |
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25 ponderous | |
adj.沉重的,笨重的,(文章)冗长的 | |
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26 annihilated | |
v.(彻底)消灭( annihilate的过去式和过去分词 );使无效;废止;彻底击溃 | |
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27 plagiarist | |
n.剽窃者,文抄公 | |
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28 plunder | |
vt.劫掠财物,掠夺;n.劫掠物,赃物;劫掠 | |
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29 paralysis | |
n.麻痹(症);瘫痪(症) | |
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30 plundered | |
掠夺,抢劫( plunder的过去式和过去分词 ) | |
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31 apprenticeship | |
n.学徒身份;学徒期 | |
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32 millet | |
n.小米,谷子 | |
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33 intensity | |
n.强烈,剧烈;强度;烈度 | |
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34 adoration | |
n.爱慕,崇拜 | |
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35 overloaded | |
a.超载的,超负荷的 | |
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36 sweeping | |
adj.范围广大的,一扫无遗的 | |
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37 silhouettes | |
轮廓( silhouette的名词复数 ); (人的)体形; (事物的)形状; 剪影 | |
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38 affected | |
adj.不自然的,假装的 | |
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39 repudiated | |
v.(正式地)否认( repudiate的过去式和过去分词 );拒绝接受;拒绝与…往来;拒不履行(法律义务) | |
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40 passionate | |
adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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41 deformations | |
损形( deformation的名词复数 ); 变形; 畸形; 破相 | |
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42 foes | |
敌人,仇敌( foe的名词复数 ) | |
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43 alluring | |
adj.吸引人的,迷人的 | |
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44 sketches | |
n.草图( sketch的名词复数 );素描;速写;梗概 | |
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45 sculptor | |
n.雕刻家,雕刻家 | |
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46 notations | |
记号,标记法( notation的名词复数 ) | |
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47 charlatans | |
n.冒充内行者,骗子( charlatan的名词复数 ) | |
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48 wares | |
n. 货物, 商品 | |
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49 sculptors | |
雕刻家,雕塑家( sculptor的名词复数 ); [天]玉夫座 | |
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50 hysterical | |
adj.情绪异常激动的,歇斯底里般的 | |
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51 humbugs | |
欺骗( humbug的名词复数 ); 虚伪; 骗子; 薄荷硬糖 | |
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52 abide | |
vi.遵守;坚持;vt.忍受 | |
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53 interpretation | |
n.解释,说明,描述;艺术处理 | |
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