Paul Gauguin, His Life and Art

was again brought face to face with the problem against

w he was some day destined to realize. But for the present he had neither lo

Emile Schuffenecker, who had also gi

d his doors freely to this needy colleague. It is a pity that Gauguin repaid

ned to think with Emile Bernard that "the basis of Gauguin's character was a deep-seated egoism," or, with

journalism in France. Gauguin himself was always talking, according to Bernard, of art and life needing "the blow of the fist." Paul Déroulède, Edmond Drumont, Henri Rochefort, Octave Mirbeau, Zo

at he felt bound, for the sake of his wife and children, to make as much money as possible. Finally, he believed in himself as an artist, if no one else did. The world had well hammered into

Van Gogh's hospitality, irritating Van Gogh to the pitch of madness, and-after Van Gogh's death-sending to Bernard and seeking to oppose the proposed exhibition of Van Gogh's pictures on the

te certain that we will never have any genius worthy of the name. Gauguin sinned in good company, with Michaelangelo who thought Raphael had plotted against him, and with Berlioz who has left on re

to do so, we find a man so set upon his own path that he was almost without friends. Van Gogh he loved without understanding. Daniel de Monfr

ly held himself aloof from all. So did Degas and Ingres, two oth

uin was not altogether strong; on some sides he was weak, as he himself admitted. But his work increased in vitality and in strength as his aim became more clear. Schuffenecker's studio was