In keeping with these ideas, Gauguin took liberties with the marine motif he had seen in Le Pouldu. Art is an abstraction as you dream amid nature, extrapolate art from it and concentrate on what you will create as a result ” (D. He offered this advice: “Don’t copy nature too closely. “My latest things are coming along well and I think you’ll find…the affirmation of my earlier teachings,” Gauguin wrote to Schuffenecker on 14 August. Gauguin was determined to take a decisive turn in his art-he would henceforth pursue a deeply subjective, anti-naturalist, primitivist, and visionary track, in a conception he and Bernard called synthétiste. “His more or less complete assimilation of Bernard’s theories and his efforts to harmonize them with his own still vague inclinations are revealed in the artistic tenets which Gauguin now began to expound” ( op. “It took his meeting with Emile Bernard to put some kind of order, although yet a rather obscure one, into mind,” John Rewald wrote. As they exchanged ideas, both men realized they were similarly seeking a new kind of expression in modern painting. Van Gogh had recommended Bernard to Gauguin the two artists immediately hit it off. The catalyst for change came in the arrival of Emile Bernard, then barely twenty, who had been painting along the northern coast of Brittany and travelled to Pont-Aven at the beginning of August while on holiday with his mother and sister. He seemed hesitant to experiment, reverting instead to the Impressionist manner of his earlier work. These works display only hints, however, of the stylistic advances Gauguin had made during his recent stay in Martinique. After a slow start, Gauguin completed during the first seven months of his stay some three dozen landscapes, figure paintings, and still-lifes. Guérin, ed., Paul Gauguin: The Writings of a Savage, New York, 1978, p. “When my wooden shoes echo on the granite ground, I hear the dull, muted, powerful sound I am looking for in painting” (D. “I like living in Brittany here I find a savage, primitive quality,” Gauguin wrote to his painter friend Claude-Emile Schuffenecker in February 1888. Wildenstein dates La Vague to late August or early September 1888. From a vantage point the artist could access only during low tide, he likely made a sketch or two, for the painting he would soon begin upon his return to Mme Gloanec’s inn. About eight miles to the southeast, in the small fishing commune of Le Pouldu, Gauguin discovered from a high, steep bluff, where the Portguerrec creek descends to the sea, this motif of massive, black lichen-covered rocks thrusting up through the North Atlantic surf. The artist befriended Captain Yves-Marie Jacob, the head customs official in the town, who directed him to interesting sites along the coast. Gauguin painted La Vague during his second extended sojourn in Brittany, as he availed himself of the inexpensive hospitality at Marie-Jeanne Gloanec’s pension in Pont-Aven, from late January into October 1888.
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