DOI Artikel:
Danielewicz, Iwona: The Collection of Gabriela Zapolska
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18947#0132
The fact that Zapolska possessed sculptures by Gauguin in her collection
testifies to a great artistic sensitivity and above-average intuition. During the
years when she was building her collection, the Gauguin’s sculpture was very
negatively received, not only by the public but also in the circle of his closest
friends.59 Two exhibitions at which he showed such works from his Tahitian
endeavours resulted in failure. Gauguin’s work during that period was rejected
by almost all the Impressionists. Only Degas responded with appreciation,
even purchasing a few pieces.60 61 62 63 64 65
“There is also a painting hanging in my room by van Gogh”, wrote
Zapolska in an article from 1894, “a jewel which in a few years will be
priceless; the trees are orange, the leaves sapphire, the earth black, and in the
background the figurę of a woman disappears in the blue mist. Van Gogh took
the form of the trees, the earth and the woman and threw them in a harmonious
rainbow of colours. Many people burst into laughter at the sight of this
painting, but I can’t tear my eyes from the blue leaves ' The title in the
exhibition catalogue of the painting from which the writer could not tear her
eyes was Falling LeauesF1 In the literaturę it is known as Les Alyscamps, or Les
Alyscamps - Falling Leaues (ill. 2)G The work was painted at the end of 1888
in Arles, where van Gogh was living. There exists another version of this
composition; the painter described both of them in a letter to his brother: “Je
crois que tu aimerais la chute des feuilles que j’ai fait. C’est des troncs de
peupliers lilas, coupes par cadre la ou commencent les feuilles. Ces troncs
d’arbres comme des piliers bordent une allee ou sont a droite et a la gauche
alignes de vieux tombeaux romains d’un lilas bleu. Or, le sol est couvert,
comme d’un tapis, par une couche epaisse de feuilles orangees et jaunes
tombees. Comme des flocon de neige il en tombe toujours encore [...] Ta deuxieme
toile est la meme allee, mais avec un vieux bonhomme et une femme grosse et
ronde comme une boule.”h4 It was exactly this second painting which was in
Gabriela Zapolska’s possession until the end of 1910. It depicts the ancient Roman
necropolis Elysii Campi in Arles, which for many centuries filled the role of
a Christian cemetery, described by Dante and Ariosto, and was irreparably
destroyed in the 19th century. At the time van Gogh painted his pictures, there
were only Roman sarcophagi along Alyscamps. This famous avenue first
mspired Gauguin, who was living in Arles at the same time, and he probably
suggested that his friend paint this historical place.'1" Gauguin in a letter to
59 Gray, op. cit., p. 64.
60 The Art of Paul Gauguin, op. cit., p. 300.
61 Publicystyka, op. cit., II, p. 302
62 Wystawa obrazów..., op. cit.-, KatalogXIV. Wystawy..., op. cit.
63 Oil on canvas, 73 x 92 cm, in the Króller-Miiller collections, Otterlo. Cf. J. B. de la Faille,
Loeuure de Vincent van Gogh, Catalogue raisonne, vol. 1, Paris - Bruxelles, cat. 486; A Detailed
Catalogue with FuliDocumentation of272 Works by Vincent van Gogh Belongingto the Collection
of the State Museum Króller-Miiller, Otterlo 1970, cat. 224; Vincent van Gogh. Catalogue de 276
oeuures dans la collection du Rijksmuseum Króller-Miiller, Otterlo 1975, cat. 224.
64 in Vincent van Gogh, op. cit., p. 59.
65 Les Alyscamps, October 1888, oil on canvas, 92 x 73 cm, Musee d’Orsay, Paris; cf. Gauguin, p. 112.
126
testifies to a great artistic sensitivity and above-average intuition. During the
years when she was building her collection, the Gauguin’s sculpture was very
negatively received, not only by the public but also in the circle of his closest
friends.59 Two exhibitions at which he showed such works from his Tahitian
endeavours resulted in failure. Gauguin’s work during that period was rejected
by almost all the Impressionists. Only Degas responded with appreciation,
even purchasing a few pieces.60 61 62 63 64 65
“There is also a painting hanging in my room by van Gogh”, wrote
Zapolska in an article from 1894, “a jewel which in a few years will be
priceless; the trees are orange, the leaves sapphire, the earth black, and in the
background the figurę of a woman disappears in the blue mist. Van Gogh took
the form of the trees, the earth and the woman and threw them in a harmonious
rainbow of colours. Many people burst into laughter at the sight of this
painting, but I can’t tear my eyes from the blue leaves ' The title in the
exhibition catalogue of the painting from which the writer could not tear her
eyes was Falling LeauesF1 In the literaturę it is known as Les Alyscamps, or Les
Alyscamps - Falling Leaues (ill. 2)G The work was painted at the end of 1888
in Arles, where van Gogh was living. There exists another version of this
composition; the painter described both of them in a letter to his brother: “Je
crois que tu aimerais la chute des feuilles que j’ai fait. C’est des troncs de
peupliers lilas, coupes par cadre la ou commencent les feuilles. Ces troncs
d’arbres comme des piliers bordent une allee ou sont a droite et a la gauche
alignes de vieux tombeaux romains d’un lilas bleu. Or, le sol est couvert,
comme d’un tapis, par une couche epaisse de feuilles orangees et jaunes
tombees. Comme des flocon de neige il en tombe toujours encore [...] Ta deuxieme
toile est la meme allee, mais avec un vieux bonhomme et une femme grosse et
ronde comme une boule.”h4 It was exactly this second painting which was in
Gabriela Zapolska’s possession until the end of 1910. It depicts the ancient Roman
necropolis Elysii Campi in Arles, which for many centuries filled the role of
a Christian cemetery, described by Dante and Ariosto, and was irreparably
destroyed in the 19th century. At the time van Gogh painted his pictures, there
were only Roman sarcophagi along Alyscamps. This famous avenue first
mspired Gauguin, who was living in Arles at the same time, and he probably
suggested that his friend paint this historical place.'1" Gauguin in a letter to
59 Gray, op. cit., p. 64.
60 The Art of Paul Gauguin, op. cit., p. 300.
61 Publicystyka, op. cit., II, p. 302
62 Wystawa obrazów..., op. cit.-, KatalogXIV. Wystawy..., op. cit.
63 Oil on canvas, 73 x 92 cm, in the Króller-Miiller collections, Otterlo. Cf. J. B. de la Faille,
Loeuure de Vincent van Gogh, Catalogue raisonne, vol. 1, Paris - Bruxelles, cat. 486; A Detailed
Catalogue with FuliDocumentation of272 Works by Vincent van Gogh Belongingto the Collection
of the State Museum Króller-Miiller, Otterlo 1970, cat. 224; Vincent van Gogh. Catalogue de 276
oeuures dans la collection du Rijksmuseum Króller-Miiller, Otterlo 1975, cat. 224.
64 in Vincent van Gogh, op. cit., p. 59.
65 Les Alyscamps, October 1888, oil on canvas, 92 x 73 cm, Musee d’Orsay, Paris; cf. Gauguin, p. 112.
126