1889-09 · Saint-Rémy-de-Provence · Knot of Motif

The Copyist Manifesto of Saint-Rémy

"Copying is translating music — like a pianist replaying Beethoven."

F690 Sower (after Millet) 1889

Letter

September 1889, Saint-Rémy. He wrote: "Copying Millet's Labours of the Fields is rather translating into another language — that of colours — the impressions of chiaroscuro in black and white." Another letter: "The copyist becomes the translator. He has the right to bring his own language." These two sentences are his most complete theoretical statement on the relationship of three talents: copyist, translator, and text.

Place

Saint-Paul-de-Mausole, the asylum outside Saint-Rémy. He was inside the walls, but his spiritual work entered its peak. In his hospital room, before him was a reproduction of Millet's print (sent by Theo from Paris); on his desk was Sensier's biography of Millet (the same book he had read four years earlier in Nuenen); in his hand was oil paint. Three tools operating at once — visual, reading, translation.

The Translator

"The copyist becomes the translator. He has the right to bring his own language." This sentence gives the complete definition of the translator: faithfulness to the source text (Millet's posture) + freedom to choose the target language (oil, colour) = translation. Before this, he had only been translating; from this moment, he knew the boundary, the rule, the ethics of translation.

The Ferocious Reader

He was simultaneously reading about Delacroix during this period — a painter half a century earlier who believed "colour can express emotion." Delacroix's colour theory and Sensier's Millet biography lay on his desk together, letting him use two authorities at once on the question of "colour translation." The ferocious reader talent continued to supply the translator until the end of his life.

Events

1889-09 The Translator · Letter 800
Began large-scale colour copying based on Millet's prints. Theo sent reproductions of Millet's prints from Paris
1889-09 The Translator · Letter 805
'Copying Millet is translating chiaroscuro into the language of colour.' The most complete theoretical statement of the text talent
1889-09 The Translator · Letter 806
'The copyist becomes the translator. He has the right to bring his own language.' The complete definition of translation
1889-09 The Ferocious Reader · Letter 807
Reading Sensier's Millet biography and Delacroix's colour theory at the same time — two books supporting each other
1889-10 The Translator · Letter 808
Completed Sower (after Millet) — same peasant, same posture, completely different language. The summary of a lifetime of translator talent

From the Letters

Copier les Travaux des champs de Millet, c'est plutôt traduire dans une autre langue — celle des couleurs — les impressions de clair-obscur en blanc et noir.

Copying Millet's Labours of the Fields is rather translating into another language — that of colours — the impressions of chiaroscuro in black and white.

Letter 805

Le copiste devient le traducteur. Il a le droit de mettre sa propre langue.

The copyist becomes the translator. He has the right to bring his own language.

Letter 806

Ce n'est pas copier au sens vulgaire — c'est interpréter, c'est traduire en une autre langue.

It is not copying in the vulgar sense — it is interpreting, it is translating into another language.

Letter 807

Delacroix copiait aussi — et ses copies sont des originaux. Voilà ce que je veux faire.

Delacroix also copied — and his copies are originals. That is what I want to do.

Letter 808

La musique de Beethoven est traduite par le pianiste — et ma peinture traduit Millet.

Beethoven's music is translated by the pianist — and my painting translates Millet.

Letter 800

Letter Sources

Van Gogh letter records referenced on this page, linked to the Van Gogh Letters Project. vangoghletters.org

Technique Evidence

This work appears as evidence in this site’s technique-evolution axis.

The Shattering Stroke 1888.02 – 1889.05 Open period F422 / JH1470 The Sower Brushstroke Representative of directional brushwork