SIGNAC (Pau l). Autograph letter signed [to... - Lot 55 - Osenat

Lot 55
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SIGNAC (Pau l). Autograph letter signed [to... - Lot 55 - Osenat
SIGNAC (Pau l). Autograph letter signed [to the painter Théo Van Rysselberghe]. S.l.n.d. 2 pp. in-folio. "Yes, it's good to say all that we think, as if we were talking by the fire. Here, in the solitude of the studio, far from the troubling Paris, I have time to think. And to whom should I entrust my thoughts if not to you? So: I will gladly sign your declaration "Basis, study and observation of nature". We differ only in purpose and means, both of us having the same admiration for the works of the past. But, answer this: do you think our drawing is related to our painting? It is, for me, obvious, that if we make a decalque of the line of most of our canvases, it is not sufficiently obvious that it comes from a canvas, in which we have searched for the primordial qualities of our art. It could just as well be the decal of a Monet, a Renoir and even a Gervex or a Montenard (I exaggerate a little). The same goes for the chiaroscuro. Well, that's where all the evil comes from : how much easier and more fruitful we could paint if we could remedy it. THE LINE AND THE TONE MUST COME TO CREATE AND REINFORCE THE MERIT OF THE HUES - THEY MUST IMPOSE FOR AND BY WHAT CHARACTERIZES OUR ART THE RHYTHM, THE GRADATION, THE CONTRAST. INSTEAD OF STARTING FROM THE EMULATION OF NATURE, WE MUST SEEK IN NATURE WHAT COMES WITH THE HELP OF OUR ART. Why would nature be for us more tyrannical in drawing than in painting? (Because there we are both liberated). By imitating, by recording, we have in front of us a quantity of problems, some impossible to solve, others contradictory of our will, of our needs. In one of our drawings, the choice should be made, and the whole thing reduced to a simple problem whose solution would facilitate the chromatic qualities. Understood differently, drawing - in relation to our art - is only a graphic exercise more or less amusing, but which is of no use to us. Only the drawings of Angrand and Seurat seem - to us - logical. And Angrand's more: because the
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