Volpine Suite continued

Volpine Suite continued
Jules Antoini published a review (rather tepid) saying "among the nine exhibitors ... 17 works by Gauguin": "Unless I am mistaken,M.Gauguin, too, is a Synthetiste"

The excellent "Gauguin : a retrospective / edited by Marla Prather and Charles F. Stuckey 1987 is the source of most of these quotes... including Volpine contributors:
Louis Roy b63, L. Faurte b68, Daniel de Monfreid, L. Anquetin b61, L Nemo alias of Bernard, Schuff, Laval, Bernard, PG which is 1 short

The blog bluelantern says
http://thebluelantern.blogspot.com/2009/11/pictures-at-exhibition-cafe-volpini.html

near the fair grounds, the Grand Café des Beaux-Arts. The owner, M. Volpini, had empty wall space that he had intended to mirror for the big event, but the mirrors had not arrived, so Schuffenecker persuaded him that a show of new art was just what he needed to attract customers.
Customers came. They ate, drank, and looked but, in the end, almost nothing was sold from more than one hundred works

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http://library.clevelandart.org/blog/?p=451

At Le Pouldu, he was in touch with Maurice Denis and others who were especially interested in Church art and Symbolism, though the latter was a phase [sic possibly "phrase"?] he rather despised. Around 1888 ... a number of artists in France were painting the glass in the interior of Chartres and other cathedrals ... in 89 I know that Gauguin, who noted everything, was in the Clichy quarter .. experimenting with glass esign & pottery.
So it was from the 13th and 24th Centry glass, I believe, that he got he idea of designing color which exactly suited him ... The result was something as near originality as anyone is likely to get. .. to pain a Christ chrome yellow appears on the face of it a deliberate eccentricity or worse, ... -

A. S Hartrick 1939 ( Scotsmas who met PG in Pont_aven in 86)
(So we have another yellow theory, in addition to Absinthe, Japanese Prints, and Van Goghs sunflowers)

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Albert Aurier was PG's second in a duel
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Emille Bernard8 188 ..

. festival in Pont-Aven I painted with sketches, the "Breton dressed in black sitting in a meadow deliberately in yellow and green. G. wa very impressed ... borrowed some of the vcolors I had used like Prussian blue, banned from the Impressionists pallate, which he did 10not have. And so he made the "visionm after the sermon" for which he earned the ttile "Creator of Symbolism" ... he did not just put into action the color theory that I had spoke of, but the very style of my "Breton women in the meadow" "
... near Pont-Aven , in Nizon, an old church... with beams carved with monsters ... Laval and I had carried the painting (Vision) ...[ PG wanted to give it to hang in the church. the priest refused.. PG had signed it "A gift of Don Tristan de Moscoso" - an attempt at Peruvian Aristo cred? ]
Our work was done together. I was, however, the only one to found them on logical and new reasons, and it was always I who showed the moisat daring and the most innovation

[EB was aged 20 at the time]




In the cloud mists in the Luzon Cordillera, I hallucinated a vision of the Breton carvings from the Green CHrist which SSS desacribe as "Late Medieval" and "not medieval" as the ordinary bus sped by I recall thinking "in Luzon they cant possibly carve as well as Breton]

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Among PG's unpublished works is a long turgid? anti-Catholic rant
with this rather charming cover

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