Letter
9 Pages
Transcription: Tor Martin Leknes
Translation: Francesca Nichols
Transcription
Aalhùs Pinseaften
Kjære frù Höst!
Tak for Deres brev; jeg er saa ner-
vös for tiden, forsöger at male lidt
om dagene men magter det ikke
paa grùnd af den overhaandtagende
nervösitet; paa grùnd af samme
veed jeg heller ikke, hvad jeg skal
skrive til Deres svoger – jeg ved-
lægger et ùdkast til et brev – som
De kan kassere eller sende efter-
som De <synes> – ùndskyld, hvis der
er noget deri som De ikke liker.
De spörger om jeg ikke har gamle
ting som jeg kùnde tilbyde galleriet –
– jeg skal have to gamle studier som
var ùdstillede paa min Bergens ùdstil-
ling: det gamle mandshode (som "Asor"
forresten likte) og en "halvact" kvindelig
figùr i profil; men begge dele er for-
svùndne, saa jeg maa tale med saa-
vel Skagen som Johannessen og Irgens
bùreaù derom, naar jeg kommer til
Bergen. Saa jeg bör til Paris –
synes De og; jeg har jo været der –
jeg kjender den franske kùnst og
er ligefrem lei af den og var
dengang allformeget inde paa deres
farveoplösnings principer – jeg gik
paa academi Colarozzi, hvor hr.
Chr. Krohg dengang var professor,
og jeg dùperede saavel Krohg og
eleverne som de andre lærere ved
min voldsomme kolorit – saa at
Krohg endog sagde: "jeg skammer
mig for at skùlle agere lærer for
Astrup" – alle mine acter og studier
blev hængt op rùndt væggene til
mönster for de andre elever – jeg hav-
de grùndig studeret Gaùgin, Claùde
Monet og den frie ùdstillings kunst-
nere, – jeg fór aldeles med i malström-
men, indtil jeg fik se den ùnge –
den yngste af alle retninger: Roùseau
og Denis – da fik jeg pludselig öinene
opladte – og jeg fik den voldsomste
afsky for den kùnstige kolorit, som
pùnctùalisterne og de andre farveop-
lösnings malere brugte (for at skaffe
de "lyse skygger" blandt andet) og jeg
svor i mit hjærte, at jeg aldrig mere
skùlde komme ind paa den slags mere
og det gjör jeg enda – Werenskiold tiltrods.
Mùnch var jo ogsaa en kort tid
inde paa pùnctùalisternes oplösnings-
princip – men han er jo siden gaaet
helt andre veie – heldigvis – saadanne
principper kan höve for malere,
som i mangel af farvesyn paa natur
og fordi mangler sans for farvens fin-
hed i en stemning {…} maa skjùle
sig bag en vibration af farve; – akùrat
som en italiener, der for at sjùle sin
falske stemme maa lade sin sang dirre
eller vibrere saa ingen kan höre, hvor
tonen akùrat ligger. Sligt kan passe
for slige skidt malere og haandtværkere
som Severin Grande – en skomager-
lærling, som jeg meget godt erindrer
fra Kristiania, da han begyndte som
aùktionsmaler – og tog brödet fra os
ùnge kunstnere, som gik der og sùltede;
siden er han bleven stor maler – har
faaet alle de störste {…} stipendier – og
jeg har hvert aar maattet opleve den
dræpende ærgrelse, at Bergens kùnst
forening har kjöbt et billede af denne
gamle hallùnk der bogstavelig talt
"burde være bleven ved sin læst."
Laùreng gav ham og hans staldbrödre et
glimrende navn: "Pùddermalerne" eller
"pùdretten" som de senere blev kaldt. De
anvendte af forsigtighed dette {…} farve-
oplösnings princip saa smaat, at deres farve-
pùnctualisme blev til smaaprikker eller
et pùdder af alle mùlige farver; der er gaaet
skole i dette oprindelig frie kùnstssystem.
II
jeg er Dem meget taknemlig for at
De vil skrive til mig, naar Mùnch
holder ùdstilling – jeg vil da vente med
at reise til Bergen til da.
Tak for at De vil være saa elskvær-
dig at sælge billeder for mig, men
De skal ikke kaste bort Deres tid
for min skyld – i en by har man altid
for liden tid – det kjender jeg godt til
af erfaring. Rigtignok er jeg i penge-
knipe for tiden, men jeg har god kredit
her – farver og materialer til sommer-
malingen – faar jeg skaffe mig, naar jeg
kommer til Bergen – forresten har jeg
kredit hos Alf Bjerke i Kristiania
men jeg skylder ham 10-12 kr. fra
i fjor, som jeg ikke har vidst om för nù,
da jeg netop fik regning fra ham – han
veed, at jeg altid betaler, jeg faar kort fra
ham hver jùl, men han nævnte sidst
intet om, at jeg skyldte noget. Der kommer
altid en eller anden liden klatgjæld dættende
paa de ùbeleiligste tider. Det er pinse-
aften i kveld – pinseklokkerne ringer – der
er vaar og solnedgangs lys over de hvide
fjelde – jeg blir endnù mere nervös af
det – fordi jeg ikke kan arbeide.
Alt er saa "<fint> og <skjært>" nù siger
De – ja det er altfor vakkert – jeg tör ikke
male det, – thi begynder jeg paa et, ser
jeg straks noget som er endnù vakrere.
Alex. Birger Grieg vil have mig til
at male om igjen sit billede; kvinde-
figùren generer ham – jeg har tilbùdt
ham at male et motiv lignende sòlei-
natten – större og bedre end det gamle og
saa bytte med ham, saa kan jo Rasmùs
Meyer faa Griegs billede – dertil svarede
Grieg at han vilde give 100 kr. mere,
om jeg vilde bytte og skaffe ham et bille-
de af soleinatten, som var bedre end
det förste soleibillede, som nù Rasmùs
Meyer har. Han fortalte ogsaa, at Meyer
absolùt vilde have hans billede og havde
tilbùdt ham at bytte med et billede som
Meyer havde af Heyerdal – men Grieg refùse-
rede hans tilbùd i det han forlangte det
gamle soleibillede isteden. Nù har jeg
tænkt mig mùligheden af at Grieg kùnde
<ùderkjende> det billede, jeg eventuelt kan
komme til at male af samme motiv,
som Meyer har af soleimotivet – jeg vil da
forsöge at male det saa godt, at jeg mùlig-
ens kùnde faa Meyer til at bytte sit
gamle med mit Nye soleibillede saa
kunde Grieg kanske tilfredstilles, naar han
fik det gamle billede, som han nù flere
gange har talt om, at han ærgrede sig
over, at han ikke fik. Pinsedag
Jeg kom ikke længere i gaaraftes, nervösiteten
tog mig saa hardt – den blir værre og værre
saa fik jeg atpaa et hardt kvælningsanfald
i nat – det er dog nù over – men ikke
nervösiteten – den er frygtelig – denne "onde
samvittighed" uden bestemt grùnd – "nag", kùnde
jeg kanske heller kalde det. Undertiden har
jeg dog en grùnd – saaledes kom her en mand
en dag og var i yderlig nöd og bad mig laane ham
100 kr. – jeg havde bare 50 kr. godt –, saa sagde
jeg for förste gang bestemt nei – og manden
gik; – da fik jeg slige frygtelige samvittigheds-
kvaler, at jeg troede jeg skulde blive sindsvag – og
saa maatte jeg springe efter manden og give ham
mine sidste 50 kr. – Siden kom jeg i endnù
större samvittigheds nöd, fordi jeg ikke turde
fortælle Engel, – hvad jeg havde gjort. Lignende
har hændt mig mindst 10 gange för; men
jeg lærer alligevel aldrig – jeg har over tùsend kr.
tilgode hos kunstnere og fattigfolk – og jeg söger ofte
at tröste min "onde samvittighed" med, at hvis jeg
har stor skyld paa debet siden hos Wor Herre eller
hvem det nù er – saa har jeg jo aldrig krævet
nogen af mine skyldnere – og maa vel derfor have
lidt paa credit siden ogsaa – men dette er jo
hvad de herrer Theologer kalder egenrætfærdighed.
Vil De ved leilighed være saa elskværdig at sende
mig en flaske sprit – det er den drygeste vare af
denslags – og jeg maa pröve lidt alkohol for min nervösitet
Undskyld, at jeg plager Dem. Hils Deres mand og datter
Lev vel Deres hengivne Astrup
Translation
Aalhùs Whit Sunday
Dear Mrs. Höst!
Thank you for Your letter; I am so ner-
vous of late, attempt to paint a little
during the day but don’t have the strength to
due to overwhelming
anxiety; for the same reason
I don’t know either, what I should
write to Your brother-in-law – I en-
close a draft of a letter – which
You can discard or send which-
ever You <think> – I apologise, if there
is something in it that You dislike.
You ask whether I have old
things that I might present to the gallery –
– I should have two old studies which
were shown at my Bergen exhibit-
tion: the old man’s head (which "Asor"
liked incidentally) and a "half-length" nude female
figure in profile; but both have dis-
appeared, so I must speak to both
Skagen and Johannessen and Irgen’s
bureau about it, when I come to
Bergen. So I should go to Paris –
in Your opinion as well; but I have been there –
I am familiar with French art and
am honestly tired of it and was
then far too involved in their
colour resolution principles – I attended
the Academi Colarozzi, where Mr.
Chr. Krohg was professor at the time,
and I duped Krohg as well as
the pupils and the other teachers with
my overwhelming coloration – to the point that
Krohg even said: "I am ashamed
of performing as a teacher for
Astrup" – all of my nudes and studies
were hung up around the walls as
examples for the other pupils – I had
carefully studied Gaùgin, Claùde
Monet and the independent art-
ists, – I joined wholeheartedly in the maelstrom
until I saw the new –
the newest of all movements: Roùsau
and Denis – then my eyes were suddenly
opened – and I was overcome with intense
disgust for the artificial coloration, that
the pointillists and the other colour-
resolution painters employed (to achieve
the "light shadows" among other things) and I
vowed in my heart, that I would never
again engage in that sort of thing any more
and I still do not – notwithstanding Werenskiold.
Mùnch was also for a brief period
into the pointilists’ resolution
principle – but he has since gone in
a very different direction – fortunately – such
principles might be suitable for painters,
who for lack of a sense of the colours in nature
and because lacks a feel for the nuance
of colours in an atmosphere {…} must hide
behind a vibration of colours; – just
as an Italian, in order to conceal his
dissonant voice must force his voice to quiver
or vibrate so that one cannot hear, exactly
where the tone lies. This kind of thing is suitable
for such awful painters and craftsmen
as Severin Grande – a cobbler’s
apprentice, whom I remember very well
from Kristiania [Oslo], when he began working as an
auction painter – and stole the bread from us
young artists, who were starving;
since then he has become a great painter – has
received all of the biggest {…} stipends – and
each year I have had to suffer the
extraordinary exasperation, of watching the Bergen Art
Association acquire a picture by this
old moron who literally
"should have stuck to his last."
Laùreng gave him and his chums a
brilliant nickname: the "Powder Painters" or
"the poudrettes" as they were later called. Out of
trepidation they employed this {…} colour
resolution principle so minimally, that their colour
pointillism resulted in small dots or
a powder of every possible colour; this originally free
artistic practice has generated its own school.
II
I am very grateful to You for agreeing
to write me, when Mùnch
has an exhibition – I will thus wait to
travel to Bergen until then.
Thank You for being so kind
as to sell pictures for me, but
You must not waste Your time
for my sake – in a city one always has
too little time – I am well aware of this
from experience. Admittedly I am
broke at the moment, but I have good credit
here – the paints and materials for painting
this summer – I will get hold of when I
come to Bergen – incidentally I have
credit at Alf Bjerke’s in Kristiania [Oslo]
but I owe him 10-12 kroner from
last year, which I was unaware of until now,
as I just received an invoice from him – he
knows, that I always pay, I receive a card from
him every Christmas, but the last time he mentioned
nothing about me owing anything. Some little
dollop of debt always comes raining down
at the most inconvenient of times. It is Whitsunday
Eve this evening – the Whitsun bells are ringing – it
is spring and the light at sunset [sweeps] over the white
mountains – I become even more nervous because of
it – because I cannot work.
Everything is so "<lovely> and <delicate>" now You
say – yes it is too beautiful – I don’t dare
paint it, – for if I begin one, I
immediately see something that is even more beautiful.
Alex. Birger Grieg wants me to
paint his picture over again; the female
figure irritates him – I have offered
him to paint a motif similar to Marigold
Night – larger and better than the old one and
then switch with him, and then Rasmùs
Meyer can have Grieg’s picture – to that
Grieg responded that he would give 100 kroner more,
if I would switch and procure him a pic-
ture of Marigold Night, that was better than
the first Marigold picture, which Rasmùs
Meyer presently owns. He also said, that Meyer
absolutely wished to have his picture and had
offered him to exchange it with a picture that
Meyer had by Heyerdal – but Grieg refused
his offer since he demanded the
old Marigold picture instead. Now I have
thought of the possibility that Grieg might
<reject> the picture, I might
eventually paint of the same motif,
that Meyer has of the Marigold motif – I will thus
attempt to paint it so well, that I might
perhaps persuade Meyer to exchange his
old one with my New Marigold picture then
Grieg might be satisfied, if he
received the old picture, which he has several
times mentioned, he was upset
about not getting. Whitsunday
I got no further yesterday evening, the anxiety
clutched me so severely – it gets worse and worse
on top of that I had a severe choking seizure
last night – but it is over now – though not
the anxiety – it’s horrible – this "guilty
conscience" without any particular cause – "remorse", I
should rather call it. Though sometimes
there is a cause – such as when a man arrived here
one day and was in dire straits and asked me to lend him
100 kroner – I had only a little over 50 kroner –, so for
once I responded with a firm no – and the man
left; – I then had such pangs of con-
science, that I thought I would go mad – and
then I had to run after the man and give him
my last 50 kroner. – Later I experienced even
greater pangs of conscience, because I didn’t dare
tell Engel, – what I had done. Similar things
have happened to me at least 10 times before; but
just the same I never learn – I have more than a thousand kroner
outstanding with artists and poor folk – and I often try
to alleviate my "guilty conscience" with [the argument], that although I
have a large account on the debit side in Our Lord’s eyes or
whoever – I have never demanded
anything of my debtors – and must therefore have
a little on the credit side as well – but this is
what the gentlemen Theologians call self-righteousness.
Will You when You have the time be so kind as to send
me a bottle of liquor – it is the most economical of
that kind of beverage – and I must try a little alcohol for my anxiety
Forgive me for bothering You. Greetings to Your husband and daughter
Be well Your devoted Astrup