DOI Heft:
Nr. 336 (May 1925)
DOI Artikel:Cann, Louise Gebhard: Gaugin's image of himself
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19985#0121
mceRDACionAL
"SELF PORTRAIT/' l8o2 Maurice Denis Collection BY PAUL GAUGUIN
egoism of a genius who considers the entire world work inscribed. "To Ch. Moricc from his friend
as a prey offered up to the glorification of his PGO," in which he wears the wonderful astrakan
power and as the primary material for his personal cap, the dark blue great-coat, fastened with
creations." buckles of chased metal, that according to the
Carriere, professing a certain estime for Gau- painter, Armand Seguin, made him appear to
guin, though with reservations, proposed to paint Parisians, as he sauntered up the Champs Elysees
his portrait. It was done in three or four sittings, with Anna, the Javanese, on his arm, a gigantic
Gauguin, delighted, told Morice that it made him and sumptuous Magyar. It belongs to the gay
resemble Delacroix. "Characteristically," says interlude of 6, rue Vercingetorix, provided by the
his biographer, "he presented Carriere with a self- inheritance from his Orleans uncle. The hand
portrait." On the upper left-hand corner is in- holding the brush above the palette is elongated,
scribed, "A mon ami Carriere, Gauguin." Painted sensual and aristocratic, and the countenance
in Brittany, the sober countenance with heavy framed by long hair is singularly noble and
lines under the eyes reminds us of Andre Salmon's, attractive. There is a geniality in the wide lips
"Gauguin is a decorator with the tastes of a that sustains the opinions of Madame Molard,
bourgeois" {Europe Nouvelle, 1919)- The middle- who executed an interesting bas-relief in plaster
class face in three-quarters view is cold and of him, of Francisco Durrio, of Madame Satre,
implacable, with tight lips, hard eyes and a very wife of the mayor of Pont-Aven, and of whom
Spanish look to the haughty line of the nose. It Gauguin made in 1889 the celebrated portrait
is his most unsympathetic and least sentimental known as "La Belle Angele," that he was reserved
image of himself and provokes the feeling that he and gentle, "un doux," as P. E. Colin puts it, and
could be calculatingly harsh. Perhaps he feared much loved by those who brought out this side
to offend Carriere by a decorative or emotional of his nature. It is the Hidalgo, the "sang-mele"
statement. He is certainly less at ease than in the of de Rotonchamps, who in the evil days of '91
MAY 1925
one twenty-one
"SELF PORTRAIT/' l8o2 Maurice Denis Collection BY PAUL GAUGUIN
egoism of a genius who considers the entire world work inscribed. "To Ch. Moricc from his friend
as a prey offered up to the glorification of his PGO," in which he wears the wonderful astrakan
power and as the primary material for his personal cap, the dark blue great-coat, fastened with
creations." buckles of chased metal, that according to the
Carriere, professing a certain estime for Gau- painter, Armand Seguin, made him appear to
guin, though with reservations, proposed to paint Parisians, as he sauntered up the Champs Elysees
his portrait. It was done in three or four sittings, with Anna, the Javanese, on his arm, a gigantic
Gauguin, delighted, told Morice that it made him and sumptuous Magyar. It belongs to the gay
resemble Delacroix. "Characteristically," says interlude of 6, rue Vercingetorix, provided by the
his biographer, "he presented Carriere with a self- inheritance from his Orleans uncle. The hand
portrait." On the upper left-hand corner is in- holding the brush above the palette is elongated,
scribed, "A mon ami Carriere, Gauguin." Painted sensual and aristocratic, and the countenance
in Brittany, the sober countenance with heavy framed by long hair is singularly noble and
lines under the eyes reminds us of Andre Salmon's, attractive. There is a geniality in the wide lips
"Gauguin is a decorator with the tastes of a that sustains the opinions of Madame Molard,
bourgeois" {Europe Nouvelle, 1919)- The middle- who executed an interesting bas-relief in plaster
class face in three-quarters view is cold and of him, of Francisco Durrio, of Madame Satre,
implacable, with tight lips, hard eyes and a very wife of the mayor of Pont-Aven, and of whom
Spanish look to the haughty line of the nose. It Gauguin made in 1889 the celebrated portrait
is his most unsympathetic and least sentimental known as "La Belle Angele," that he was reserved
image of himself and provokes the feeling that he and gentle, "un doux," as P. E. Colin puts it, and
could be calculatingly harsh. Perhaps he feared much loved by those who brought out this side
to offend Carriere by a decorative or emotional of his nature. It is the Hidalgo, the "sang-mele"
statement. He is certainly less at ease than in the of de Rotonchamps, who in the evil days of '91
MAY 1925
one twenty-one