I’ve received a letter from Gauguin in which he talks about painting and complains about not yet having the money needed to come here — but nothing new or different.

I sent Russell 12 drawings after painted studies,1 and so I’ve had an opportunity to talk about it again.

We’ll soon be at Michaelmas, and I’ve only rented the house until then;2 should I, yes or no, take it again for a half year, that’s what I’d very much like to decide after Gauguin has seen it, and not without him.

I couldn’t pay my rent on the 1^st, having a model for the whole week — I have two portraits of the same model on the go, which are more important to me than the rest.3 But it’s on this occasion, when I was putting my chap4 off till next Monday for the month’s rent,  1v:2 that he said something, that he could find another tenant for the house if I hadn’t decided to keep it. Which doesn’t surprise me much, since I’ve had it repaired myself, and so it’s improved.5

In my last letter I forgot to reply to you on the subject of Tasset’s new canvas at 5.50 francs.6

It’s very fine, and quite what I wanted. If I did a portrait or just something that I’m determined should last, he could depend on my using it.

But not much, having just made up my mind to use cheap canvas for the studies.7 If his consignment hasn’t gone off, I’d be very pleased if you would add to it 4 small tubes of geranium lake. If, that is, I haven’t already ordered that colour, but I believe that in fact I didn’t ask for any bright reds except carmine.

So I have two figures on the go now, a head, and a bust with hands, of an old postman in a dark blue uniform. He has a Socratic head that’s interesting to paint.8  1v:3

There’s no better or shorter way to improve my work than to do figures. Also, I always feel confidence when doing portraits, knowing that that work is much more serious — that’s perhaps not the word — but rather is the thing that enables me to cultivate what’s best and most serious in me.

More soon, good handshake.