Ample.

Delacroix, A Vase of Flowers, 1833

We are nothing but links in a chain.  Old Gauguin and I understand each other basically, and if we are a bit mad, what of it? Aren't we also thoroughly artists enough to contradict suspicions on that score by what we say with our brush?  Perhaps someday everyone will have neurosis, St. Vitus' dance, or something else.

But doesn't the antidote exist? In Delacroix, in Berlioz, and Wagner? And really, as for the artist's madness of all the rest of us, I do not say that I especially am not infected through and through, but I say and will maintain that our antidotes and consolations may, with a little good will, be considered ample compensation.

Vincent van Gogh, from a letter to Theo van Gogh. Monday, 28 January 1889

See.

Gauguin, Self-portrait with Portrait of Bernard, "Les Misérables," 1888

I have always [thought] that it was the duty of a painter never to answer criticisms, even hostile ones--especially hostile ones; nor flattering ones, either, because those are often dictated by friendship.

This time, without departing from my habitual reserve, I have an irresistible desire to write to you, a caprice if you will, and--like all emotional people--I am not good at resisting. Since this is merely a personal letter it is not a real answer but simply a chat on art; your article prompts and evokes it.

We painters, we who are condemned to penury, accept the material difficulties of life without complaining, but we suffer from them insofar as they constitute a hindrance to work. How much time we lose in seeking our daily bread! The most menial tasks, dilapidated studios, and a thousand other obstacles. All these create despondency, followed by impotence, rage, violence. Such things do not concern you at all, I mention them only to convince both of us that you have good reason to point out numerous defects, violence, monotony of tone, clashing colors, etc. Yes, all these probably exist, do exist. Sometimes however they are intentional. Are not these repetitions of tones, these monotonous color harmonies (in the musical sense) analogous to oriental chants sung in a shrill voice, to the accompaniment of pulsating notes which intensify them by contrast? Beethoven uses them frequently (as I understand it) in the "Sonata Pathetique," for example. Delacroix too with his repeated harmonies of brown and dull violet, a sombre cloak suggesting tragedy. You often go to the Louvre; with what I have said in mind, look closely at Cimabue. Think also of the musical role color will henceforth play in modern painting. Color, which is vibration just as music is, is able to attain what is most universal yet at the same time most elusive in nature: its inner force.

Here near my cabin, in complete silence, amid the intoxicating perfumes of nature, I dream of violent harmonies. A delight enhanced by I know not what sacred horror I divine in the infinite. An aroma of long-vanished joy that I breathe in the present. Animal figures rigid as statues, with something indescribably solemn and religious in the rhythm of their pose, in their strange immobility. In eyes that dream, the troubled surface of an unfathomable enigma.

Night is here. All is at rest. My eyes close in order to see without actually understanding the dream that flees before me in infinite space; and I experience the languorous sensation produced by the mournful procession of my hopes.

Paul Gauguin

Feat.

Gauguin, Vase of Flowers, 1886

In 1973, 
I set my brain back to 1915 and I managed to remember 
flowers -– and paint them –- as I had seen them then. 
Quite a feat. 
And the flowers were fresher.

Alice Neel

Savage.

I begin to feel an enormous need to become savage and to create a new world.

Paul Gauguin