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Another hard day’s work today. If you saw my canvases, what would you say about them — you wouldn’t find Cézanne’s almost diffident and conscientious brushstroke there. But since at present I’m painting the same countryside of La Crau and the Camargue — although in a slightly different place – nevertheless, certain color relationships could remain. What do I know about it — from time to time I couldn’t help thinking of Cézanne, particularly when I realized that his touch is so clumsy in certain studies – disregard the word clumsy — seeing that he probably executed those studies when the mistral was blowing. Having to deal with the same difficulty half the time, I can explain why Cézanne’s touch is sometimes so sure and sometimes seems awkward. It’s his easel that’s wobbling.

I’ve sometimes worked excessively fast; is that a fault? I can’t help it. For example I’ve painted a no. 30 canvas — the summer evening — at a single sitting. It’s not possible to rework it; to destroy it — why, because I deliberately went outside to make it, out in the mistral. Isn’t it rather intensity of thought than calmness of touch that we’re looking for — and in the given circumstances of impulsive work on the spot and from life, is a calm and controlled touch always possible? Well — it seems to me — no more than fencing moves during an attack.

I still continue to find the subjects here very beautiful and interesting, and despite the vexations of expenses, I nevertheless think there’s a better chance in the south than in the north. If you saw the Camargue—and many other places—like me, you’d be very surprised to see that it has a character absolutely à la Ruisdael.