Every human work is a revelation of the individual. Hence, there are two kinds of beauty; one comes from instinct, the other from labor. The union of the two--with the modification resulting therefrom--produces great and very complicated richness.... Raphael’s great science does not for a moment prevent me from discovering the instinct of the beautiful in him as the essential quality. * * * * * In 1895 there was a sale of Gauguin’s works at the Hotel Drouot. Strindberg was asked to write a preface to the catalogue. In declining, he admitted his own “immense yearning to become a savage and create a new world,” but said of Gauguin’s world, “it is too sunny for me, the lover of chiaroscuro. And in your Eden dwells an Eve, who is not my ideal--for indeed, I too, have a feminine ideal, or two.” Gauguin answered, Your civilization is your disease, my barbarism is my restoration to health. The Eve of your civilized conception makes us nearly all misogynists. The old Eve, who shocked you in my studio, will perhaps seem less odious to you some day. I have perhaps been unable to do more than suggest my world, which seems unreal to you. It is a far cry from the sketch to the realisation of the dream. But even the suggestion of the happiness is like a foretaste of Nirvana--only the Eve I have painted can stand naked before us. Yours would always be shameless in the natural state, and, if beautiful, the source of pain and evil.[22] He had a profound admiration for Cézanne, and was often charged with imitating him, and in some of his pictures there is a certain resemblance in construction, but two painters could scarce be less alike in the handling of color. Gauguin handled color for the pure joy of it.[23] Cézanne used color as a mason uses bricks. Gauguin’s admiration for Cézanne was not reciprocated. “Gauguin likes your work immensely, and imitates you,” a friend once said to Cézanne. “Eh! he does not understand me,” was the angry response. “I never have and never will accept a lack of modelling or graduation; that is nonsense. Gauguin is not a painter; he produces simply Chinese figures.” * * * * * Gauguin was a dreamer; Cézanne, in his way, was quite an exact thinker, for instance, he explained his ideas of form and color as follows: Everything in nature is modelled on the lines of the _sphere_, the _cone_, and the _cylinder_, and one must understand how to paint these simple figures, one can then paint anything. Design and color are not distinct; to precisely the extent that one paints, one draws; the more the color harmonizes, the clearer and purer the design. When the color is at its finest, the form also attains its perfection. Contrasts and harmonies of tones--that is the secret of drawing and modelling.[24]