# The Writings Of A Savage

- Author: [Paul Gauguin](https://www.leafyquotes.com/paul-gauguin.md)
- Quotes: 27
- Book page: https://www.leafyquotes.com/paul-gauguin/the-writings-of-a-savage

## Quotes

> At the age of ten, twenty, a hundred, very young, a little older, and very old, an artist is always an artist. Isn't he better at some times, some moments, than at others? Never impeccable, since he is a living, human being?

p. 219

> ..color being enigmatic in itself.. ..then to be logical we cannot use it any other way than enigmatically..

p. 145

> I do not paint by copying nature. Everything I do springs from my wild imagination.

p. 22

> I was so bent on putting all my energy in its 'Where do we come from? What are we? Where are we going' before dying [suffering from syphilis, Gauguin decided to commit suicide at the end], such painful passion amid terrible circumstances, and such a clear vision without corrections that the hastiness of it disappears and life bursts from it. It does not stink of models, professionalism, and the so-called rules that I have always disregarded.

p. 160

> I must confess that I too am a woman and that I am always prepared to applaud a woman who is more daring than I, and is equal to a man in fighting for freedom of behavior.

> You have long known what I have tried to establish: the right to dare everything; yet the difficulty I have had finding enough money to live on has been too great, and my capacities have not produced a very big result but the mechanism has got underway nevertheless. The public does not owe me anything because the pictorial work I have done is only relatively good, but the painters who benefit from that freedom today do owe me something.

p. 214

> Copying nature — what is that supposed to mean? Follow the masters! But why should one follow them? The only reason they are masters is that they didn't follow anybody!

p. 108

> A time will come when people will think I am a myth, or rather something the newspapers have made up.

p. 125

> My eyes close and uncomprehendingly see the dream in the infinite space that stretches away, elusive, before me.

p. 184

> Nature has mysterious infinities and imaginative power. It is always varying the productions it offers to us. The artist himself is one of nature's means.

p. 39

> I borrow some subject or other from life or from nature, and, using it as a pretext, I arrange lines and colors so as to obtain symphonies, harmonies that do not represent a thing that is real, in the vulgar sense of the word, and do not directly express any idea, but are supposed to make you think the way music is supposed to make you think, unaided by ideas or images, simply through the mysterious affinities that exist between our brains and such arrangements of colors and lines.

p. 109

> freely and madly; you will make progress.. .Above all, don't sweat over a painting; a great sentiment can be rendered immediately..

> I love Brittany; I find wildness and primitiveness there. When my wooden shoes ring on this granite, I hear the muffled, dull, and powerful tone which I try to achieve in painting.

p. 109

> No one wants my painting because it is different from other people's — peculiar, crazy public that demands the greatest possible degree of originality on the painter's part and yet won't accept him unless his work resembles that of the others!

p. 205

> At an exhibition in London, one sagacious critic wrote: 'Monsieur Degas seems a good pupil of Nittis!' Doesn't this reflect that mania which men of letters have for squabbling in court over who had a given idea first? And the mania spreads to painters who take great care of their originality.

p. 219

> Your Nordic blue eyes looked attentively at the paintings hanging on the walls. I felt stirrings of rebellion: a whole clash between your civilization and my barbarism. Civilization from which you suffer. Barbarism which for me is a rejuvenation.

p. 105

> Don't copy nature too closely. Art is an abstraction; as you dream amide nature, extrapolate art from it and concentrate on what you will create as a result.

p. 5

> In my figures [of his famous painting 'Vision After the Sermon'] I have achieved a great simplicity, which is both rustic and superstitious... ..In this picture the landscape and the struggle [between Jacob wrestling with the angel ] exist only in the imagination of the people whom the sermon has moved to prayer. That's why there is a contrast between the people, depicted naturally, and the struggle in its unnatural and dis-proportioned landscape.

p. 24

> A young man who is unable to commit a folly is already an old man.

p. 68

> In art, there are only two types of people: revolutionaries and plagiarists. And in the end, doesn't the revolutionary's work become official, once the State takes it over?

p. 107

> As I wanted to suggest a luxuriant and untamed type of nature, a tropical sun that sets aglow everything around it, I was obliged to give my figures a suitable setting.It is indeed the outdoor life — yet intimate at the same time, in the thickets and the shady streams, these women whispering in an immense palace decorated by nature itself, with all the riches that Tahiti has to offer. This is the reason behind all these fabulous colors, this subdued and silent glow."But none of this exists!""Oh yes it does, as an equivalent of the grandeur, the depth, the mystery of Tahiti, when you have to express it on a canvas measuring only one square meter."Very subtle, very knowing in her naïveté is the Tahitian Eve. The riddle hiding in the depth of her childlike eyes is still incommunicable to me.

p. 137

> I am leaving in order to have peace and quiet, to be rid of the influence of civilization. I want only to do simple, very simple art, and to be able to do that, I have to immerse myself in virgin nature, see no one but savages, live their life, with no other thought in mind but to render, the way a child would, the concepts formed in my brain and to do this with the aid of nothing but the primitive means of art, the only means that are good and true.

p. 48

> I am a great artist and I know it. It's because of what I am that I have endured so much suffering, so as to pursue my vocation, otherwise I would consider myself a rogue — which is what many people think I am, for that matter. Oh well, what difference does it make. What upsets me the most is not so much the poverty as the things that perpetually get in the way of my art, which I cannot carry out the way I feel and which I would carry out if it weren't for the poverty that is like a straitjacket. You tell me I am wrong to stay away from the artist[ic] center. No, I am right; I've known for a long time what I am doing and why I am doing it. My artistic center is in my brain and nowhere else, and I am strong because I am never thrown off-course by other people and because I do what is in me.

p. 53

> In order to produce something new, you have to return to the original source, to the childhood of mankind.

p. 110

> The critic asks me: 'So you are a Symbolist? I mean well and I would like to learn; why don't you explain Symbolism to me'.. I answer.. .'Well, my paintings probably speak Hebrew, which you do not understand, so there is no point in continuing the conversation.

p. 130

> ..so before I died I wanted to paint a large canvas that I had worked out in my head, and all month long I worked [on Tahiti] day and night at fever pitch.. .It's all done without a model.

p. 159

> A great sentiment can be rendered immediately. Dream on it and look for the simplest form in which you can express it.

p. 5