By Nathalia Brodskaya
Paul Gauguin used to be first a sailor, then a profitable stockbroker in Paris. In 1874 he started to paint at weekends as a Sunday painter. 9 years later, after a stock-market crash, he felt convinced of his skill to earn money for his kinfolk by means of portray and he resigned his place and took up the painter's brush complete time. Following the lead of Cézanne, Gauguin painted still-lifes from the very starting of his inventive occupation. He even owned a still-life by way of Cézanne, that is proven in Gauguin's portray Portrait of Marie Lagadu. The yr 1891 was once the most important for Gauguin. In that yr he left France for Tahiti, the place he stayed until 1893. This remain in Tahiti made up our minds his destiny existence and profession, for in 1895, after a sojourn in France, he again there for stable. In Tahiti, Gauguin found primitive paintings, with its flat types and violent colors, belonging to an untamed nature. With absolute sincerity, he transferred them onto his canvas. His work from then on mirrored this variety: an intensive simplification of drawing; wonderful, natural, vivid shades; a decorative variety composition; and a planned flatness of planes. Gauguin termed this variety "synthetic symbolism".
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Extra resources for Gauguin
Sample text
Te Arii vahine, The king’s Wife (The Queen), 1896. Oil on canvas, 97 x 130 cm. The Pushkin Museum of Fine Arts, Moscow.
As a matter of fact, these ideas began to preoccupy Gauguin three years earlier. Nowadays the majority of scholars agree that the indisputable leader of the Pont-Aven school was Gauguin, although Bernard certainly made his contribution – if not in painting proper, then in the theory of the trend. At the same time, most art historians still believe that Gauguin conceived the key work of the new trend, The Vision after the Sermon, or Jacob Wrestling with the Angel (National Gallery of Scotland, Edinburgh), under the influence of the Breton Women in the Meadow by Bernard (D.
Dull and uninspiring in winter, it was magically transformed by the summer and autumn sun. Yellow became Gauguin’s favourite colour, dominating the palette of many of his Breton pictures, joyous and radiant as never before. Such are his Haymaking in Brittany (Courtauld Institute Galleries, London), The Yellow Haystacks, or The Golden Harvest (Musée d’Orsay, Paris), The Brittany Landscape (Nationalmuseum, Stockholm), two landscapes (Nasjonalgalleriet, Oslo), The Yellow Christ (Albright-Knox Art Gallery, Buffalo) and many other compositions.