Notes

{A} page . The translation of the original French would be: “without having recourse to the old dodges and delusions of intriguers” (aux vieux trucs et trompe-l’œil d’intrigants).

{B} p. . The French is boutons d’or (buttercups). The German translation has Löwenzahn.

{C} p. . The German is, Leute die auf Technik sehen; but my rendering is more faithful to the French original.

{D} p. . According to the French this should be: “After many eccentricities you have succeeded in producing,” etc. The German, however, is, wirst Du dahin gelangen Sachen von ägyptischer Ruhe, etc.

{E} p. . The French word is bestiales, which the German translator rendered by grausame.

{F} p. . The French is crâne (swaggering); the German translation has elegant.

{G} p. . The French has, your grandmother.

{H} p. . The French is, amours faciles.

{I} p. . The French is, senti dans son animalité.

{J} p. . From this point the original French continues, “is like the consummation of sexual love—a moment of infinity.”

{K} p. . In his original publication of these letters in Le Mercure de France, E. Bernard inserts a note here to the effect that Van Gogh meant that Rembrandt used religious subjects only as a means of expressing philosophical ideas.

{L} p. . The French is, peint un ange surnaturel au sourire à la Vinci.

{M} p. . The French is, folie contagieuse.}

{N} p. . The French is, sincérité et dévotion.

{O} p. . The German translator took what I believe to be a justifiable liberty here; for the original French reads: et il sagit de souffler de son souffle tant qu’on a le souffle.

{P} p. . The French word is renaissance.

{Q} p. . The German translation (beim Fechten) misses the point here; for the French original is not l’escrime, but l’escrime à l’assaut.

{R} p. . In the German translation there are no dots here to show that a passage has been omitted; as however, this passage seems to me important, I thought it advisable to give the translation of it in these notes. After the word “nature,” the French original proceeds: “in order to convert a study into a picture by arranging the colour, adding here, and simplifying there;...”

{S} p. . E. Bernard says that this refers to a caricature by Gauguin of Van Gogh sitting on a ledge of rock drawing the sun.

{T} p. . The French word is not talent but supériorité.

{U} p. . I confess that I did not understand the proper meaning of this passage, either in the French or in the German, so here it is, as it stands in the French original: Mais justement à cause de ce que c’est dans le cœur des gens qu’est aussi le cœur des affaires, il faut conquérir des amitiés ou plutôt les ranimer.

{V} p. . It may be of interest to painters to know that the other colours mentioned in the French original are: rose de garance, and mine orange.

{W} p. . I may be wrong here. The German word is Axiomen, the French original is, axiomes.

{X} p. . The French original contains simply the word sérénité, which the German translator paraphrased as “the joy of living, and peace.”

{Y} p. . The French original has, on ne s’en repent pas, in the place of “one can never cast it out.”

{Z} p. . It is not clear whether Van Gogh meant that he opposed the firm B. and V. or that he quelled the feeling in his heart. The French original is simply: Seulement je m’y oppose.

{AA} p. . The French original is, des établissements pour Zouaves. On this point see also p. 23, vol. 12, of the “Mercure de France.”

{BB} p. . The original reads: Si je me laissais embêter par le premier venu ici, tu comprends que je ne saurais bientôt plus où donner la tête. The German rendering was therefore a little too free.

{CC} p. . A passage is omitted here in the German translation, which I think is of sufficient interest to be quoted. In the French original the passage reads: Je crois que Gauguin lui-même souffre beaucoup et ne peut pas se developper comme pourtant c’est en dedans de lui de pouvoir le faire.

{DD} p. . On both occasions when in the German text I found the word Schwefelgelb, I translated it by “cadmium.” The word in the French original is simply soufre. (See also page 73.)

{EE} p. . The German word is Quadratnets, and the French original has cadre perspectif. I am not sure that my rendering gives an adequate idea of the instrument.

{FF} p. . The French is, rhinocéros dangereux.

{GG} p. , “and give a helping hand,” is a somewhat free rendering, through the German, of et comme nous le ferons.

{HH} p. . The number “28” seems to be a misprint in the German.

{II} p. . E. Bernard, himself, leaves one to guess at what this means; for in the original French we read: Car je n’ai même pas, depuis un mois trois semaines, de quoi aller ... pour 3 fr.

{JJ} p. . In the French original there is no mention of “the south.”}

CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

us in in his favour=>us in his favour {pg xvi}

ursurped the place of higher and holier aims=>usurped the place of higher and holier aims {pg xxxiv}

Gaugin=> Gauguin {x6}

Another and even more stiking example=> Another and even more striking example {pg 8}

dry withered beach leaves=> dry withered beech leaves {pg 12}

as far as as I was able to judge=>as far as I was able to judge {pg 25}

I believe it is bettter to scrape=> I believe it is better to scrape {pg 26}

simply because it it is his nature to do so=> simply because it is his nature to do so {pg 37}

in which everything was arranged with architectual method=> in which everything was arranged with architectural method {pg 59}

he would certainly not think lighty of this talent=> he would certainly not think lightly of this talent {pg 78}

is to found on the palettes of the Dutch painters=> is to be found on the palettes of the Dutch painters {pg 92}

Everywhere a cadium yellow=> Everywhere a cadmium yellow {pg 95}

small head of of the Brittany girl=> small head of the Brittany girl {pg 127}