저녁 무렵까지 집에서 세잔의 편지 모음과 세잔에 관한 책을 읽었다. 독서하기에 좋은 계절이다. 저녁녁에 친구가 와서 함께 인근에 있는 펍에 갔다. 펍 앞에는 자그마한 강이 흐른다. 작은 배가 오르내린다. 커다란 백조가 떠 있다. 사람들 손에서 던져지는 빵조각에 익숙해 있는 듯 싶었다. 해가 지면서 지평선 근방의 구름들이 빨갛게 물든다. 구름들이 산의 자취를 하고 있다. 머리 뒤편으로 바나나 모양의 달이 떠오른다. 어둠이 내리도록 공기는 투명하다. 파란 잔디, 그림같은 집들. 뛰노는 아이들. 감자 튀김에 샐러드, 커다란 이층 햄버거, 그리고 맥주 한 잔으로 저녁을 먹었다. 강변을 따라 짧은 산책을 했다. 강물의 표면이 갖가지 색깔로 빛난다. 조용하고 평화로운 금요일 저녁이었다.
어제 산 세잔의 편지 모음은 "PAUL CEZANNE LETTERS"라는 제목의 책으로 John Rewald가 편집한 것이다. 출판연도를 보니 1941년이다. 나는 이걸 8 파운드에 샀다. 활자가 큼직 큼직하여 시원하고 두터운 종이엔 색바램이 거의 없다. 활자 눌린 자국이 운치가 있다. 이 책에서 발췌한 것을 여기에 옮겨두려 한다. 주로 예술에 관한 부분이다. 이하.
CXXIX bis To Joachim Gasquet
and to a young friend
[원래 단편인 것의 전문임]
...I cannot say that I envy you your youth, that is impossibe but your vigour, your inexhaustible vitality.
...I am at the end of my strength. I should have more sense and understand that at my age illusions are hardly permissible and that they will always cause my undoing.
...At the present time I am still searching for the expression of those confused sensations that we bring with us at birth. If I die everything will be over; but what does it matter!
...Perhaps I was born too early. I was more the painter of your generation than mine...
You are young, you have vitality, you will stamp your art with an impulse that only those possesed of true feeling can give it. For my part I am getting old, I shall not have time to express myself...
Let us work...
...The study of the model and its realization is sometimes very slow in coming.
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CXLVIII To Charles Camoin (Aix, 28th Jan., 1902)
...
You see that a new era in art is preparing, you sensed it coming; continue your studies without weakening, God will do the rest.
...
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CLVI bis To Joachim Gasquet (Aix, July, 1902)
[원래 단편인 것의 전문임]
...I despise all living painters except Monet and Renoir and I wish to achive success through work.
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CLVIII To Mademoiselle Paule Conil (Aix, 1st Sep., 1902)
...
Unfortunately what we call progress is nothing but the invasion of bipeds who do not rest until they have transformed everything into hideous quais with gas lamps - and, what is still worse - with electric light. What times we live in!
...
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CLIX To Ambroise Vollard (Aix, 9th Jan., 1903)
...
I am working obstinately, for I am beginning to see the promised land. Will I be like the great Hebrew leader or will I be able to enter?
...
I have made some progress. Why so late and with such difficulty? Is art really a priesthood that demands the pure in heart who must belong to it entirely?
...
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CLXIII To Charles Camoin (Aix, 13th Sep., 1903)
...
I thought I had mentioned to you that Monet lived at Giverny; I hope that the artistic influence that this master cannot fail to have on his more or less immediate surroundings will be felt in accordance only with the strictly necessary weight that it can and must have on an artist young and well disposed toward work. Couture used to say to his pupils: "Keep good company, that is: Go to the Louvre. But after having seen the great masters who repose there, we must hasten out and by contact with nature revive in us the instincts and sensations of art that dwell within us."
...
What shall I wish you: good studies made after nature, that is the best thing.
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CLXV To Louis Aurenche (Aix, 25th Jan., 1904)
...
In your letter you speak of my realization in art. I think that everyday I am attaining it more, although with some difficulty. For if the strong experience of nature - and assuredly I have it - is the necessary basis for all conception of art on which rests the grandeur and beauty of all future work, the knowledge of the means of expressing our emotion is no less essential, and is only to be acquired through very long experience.
The approbation of others is a stimulus of which, however, one must sometimes be wary. The feeling of one's own strength renders one modest.
...
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