Paul Gauguin

Why did thousands of nineteenth-century artists leave the established urban centers of culture to live and work in the countryside? By 1900, there were over eighty rural artists’ communities across northern and central Europe. This is the first book to offer a critical analysis of this important phenomenon on a Europe-wide basis. Nina Lübbren combines close visual readings of little-known paintings with an innovative multidisciplinary approach, drawing on sociology, geography, and theories of tourism.

Rural artists’ colonies have been unjustly neglected by an art history preoccupied with the urban avant-garde. Yet these communities hatched some of the most exciting innovations of late nineteenth-century painting. Moreover, the practices and images of rural artists articulated central concerns of urban middle-class audiences, in particular the yearning for a nostalgia-imbued life that was considered authentic, premodern, and immersed in nature. Paradoxically, it was precisely this perception that placed artists’ colonies firmly within modernity, mainly through their contribution to an emergent mass tourism.

La produzione di Gauguin del 1890, stretta tra i capolavori bretoni come Il Cristo giallo, Visione dopo il sermone, Ondina e La bella Angèle (dell'anno prima) e la svolta tahitiana del 1891, ha ricevuto scarsa attenzione da parte della critica. E di certo si tratta di un anno di passaggio, in cui l'artista sta cercando di definire la propria identità ed è totalmente preso dal progetto dell'atelier dei Tropici, in cui avrebbe voluto coinvolgere i suoi amici artisti. Dunque, è un periodo di incubazione: Gauguin è proiettato verso l'Oceania, dopo un primo innamoramento per il Tonchino e il Madagascar, e i suoi lavori, non molti (Wildenstein ne conta appena venticinque 1), realizzati nel 1890 risentono di questa inquietudine, ma in modo laterale, tranne in un caso, come vedremo. Cinque mesi a Le Pouldu in Bretagna (da giugno a novembre) insieme a Meijer de Haan, Charles Filiger e Paul Sérusier, e il resto del tempo a Parigi, dove l'artista non fa altro che programmare il suo viaggio, nello specifico, preparando un'asta dei propri dipinti che si sarebbe svolta a marzo del '91 per finanziare, con una moderna operazione di self-management, la partenza agognata. I primi di giugno, appena giunto alla pensione di Marie Henry, trova una lettera di Vincent Van Gogh in cui l'artista gli annunciava il suo imminente arrivo. Sembra che in quell'occasione Gauguin abbia esclamato "mai e poi mai, voleva uccidermi" 2 e così incaricò di rispondere Marie che la pensione era al completo: "La sua idea di venire in Bretagna a Le Pouldu mi sembra eccellente se solo fosse possibile realizzarla. Infatti de Haan e io ci troviamo in una frazioncina lontana dalla città, senza altro mezzo di trasporto che una vettura di posta. E per un malato [Van Gogh era appena stato dimesso dall'ospedale di St. Rémy N.d.A.] che ha bisogno del medico qualche volta può essere un problema […] per di più, se riuscirò a organizzare la partenza per il Madagascar, ai primi di settembre io non sarò più qui, e neppure de Haan che torna in Olanda" (24 giugno). Due mesi dopo, in preda a terribili crisi, Van Gogh si uccide (29 luglio). Appresa la notizia da Émile Bernard, Gauguin scrive: "Per triste che sia questa morte, non mi affligge molto, perché la prevedevo e conoscevo le sofferenze di quel poveretto in lotta con la pazzia. Morire in questo momento è una gran fortuna per lui, è la fine delle sue sofferenze, e se ritorna quaggiù in un'altra vita, porterà il frutto della sua bella condotta nel mondo (secondo la legge di Budda)" (agosto 1890). La lettera, per quanto possa apparire fredda e distante, non è incoerente con lo spirito e il carattere dell'artista, che in quel tempo iniziava ad indurirsi e inasprirsi maggiormente. Ed è in linea con un suo, almeno apparente, spirito disincantato di 1 G. Wildenstein, Paul Gauguin, I catalogue, Paris 1964. 2 Sulla convivenza Van Gogh-Gauguin si sono spesi fiumi di parole, qui ricordo solo che i due vissero insieme da ottobre a dicembre del 1888, esattamente fino al 25, giorno in cui Gauguin partì dopo l'aggressione da parte di Van Gogh. Sulla storia della mutilazione dell'orecchio di Van Gogh le opinioni sono discordanti: secondo molti si è trattato di un'autopunizione (in seguito all'aggressione verso Gauguin), secondo recenti studi (Hans Kaufmann e Rita Wildegans, 2009) sarebbe stato Gauguin a ferire l'amico e poi a rispettare una sorta di "patto di silenzio" nascondendo per sempre l'accaduto. Nota informativa: le traduzioni delle lettere di Paul Gauguin sono state reperite in Gauguin e

This article examines Marina Tsvetaeva's modernist perception of the personality and paintings of the greatest representative of the Russian avant-garde of the 20th century in the essay "Natalia Goncharova. Life and Work" ("Наталья Гончарова. Жизнь и творчество", 1929). Goncharova's paintings that Tsvetaeva describes in her essay are indicated. The principles of modernist poetics and ekphrasis are revealed (lyrical subjectivism, ontology, consonance, anagrammatic disclosure of the inner form of a word, mythologization, reader co-creation, dialogism). The similarity between Tsvetaeva's understanding of painting and poetry is compared to the ontological understanding of art by Martin Heidegger. This can be explained by the tradition of ontological poetry (Friedrich Hölderlin and Rainer Maria Rilke), which is important for both. The ontology of Goncharova’s painting is also considered in the context of the ontology of animals in Russian philosophy at the beginning of the 20th century (Vasily Rozanov) and in the Tahitian Painting of Paul Gauguin. Special attention is paid to ekphrastic poetics (style, tropes, consonance), with the help of which Tsvetaeva authentically transfers the ontologism of Goncharov’s painting in its stylistic diversity (cubism, neo-primitivism, rayonism) to the verbal level. Tsvetaeva and Goncharova in the respective Russian and European context (Gauguin, Rozanov, Heidegger, Rilke) appear as exponents of the ontological turn in the culture of the first half of the 20th century.

'Paul Gauguin and the complexity of the primitivist gaze', as appeared in Journal of Art Historiography (12: Jun15: The European scholarly reception of ‘primitive art’ in the decades around 1900: guest edited by Wilfried Van Damme and Raymond Corbey)
Ruud Welten

“The image created is that of an altarpiece in which Madame Roulin takes on the role of the Virgin Mary as Stella Maris and in which the sunflowers can be associated with Christ.” – Dr. Evert van Uitert, 1980.

“His Berceuse culminated his art of sacred realism, shorn of miraculous rescues and visionary ruminations but  nonetheless vested with spiritual force and the consoling function associated with religious art.” – Dr. Debora Silverman, 2000.

In other words, Vincent painted his Madonna and Child with neither a Madonna nor a child. Over the same creative period, he crafted his original starry night, Café Teras. This paper demonstrates it was intended to be a uniquely innovated Last Supper.

Пол Гоген
Записи цивилизованог дивљака у светлу оријентализма, колонијализма и примитивизма

ОБРАЗЛОЖЕЊЕ ТЕМЕ ЗА ДИПЛОМСКИ РАД

Желећи да напишем рад о Гогену, стекао сам утисак да је већина литературе заокупљена уметничко-формалном и биографском анализом његовог дела, под мањим или већим утицајем мита који је остао иза њега до дан данас. У претходне две године, дошавши у додир са постмодернизмом преко изборних предмета са одсека за социологију (постструктурализам, родне студије, антропологија итд.), пронашао сам приступ који ми највише одговара и био сам заинтересован да га проширим и применим на подручије историје уметности. Рад сам насловио: Пол Гоген: Записи цивилизованог дивљака у светлу оријентализма, колонијализма и примитивизма, желећи да се усресредим на следећа питања: 1) порекло филозофске идеје о „племенитом дивљаку“ (као и свест о Другоме) која је била присутна од 18. века као критика западног друштва и која је имала великог утицаја на Гогеново поимање Тахитија и Тахићана; 2)покушај примене система (уз извесне корекције) који је Едвард Саид дефинисао у својој књизи Оријентализам, дискурса који је, по мом мишљењу, кључан за разумевање како односа према Оријенту, тако и према ваневропским културама (империјализам и колонијализам); 3) анализа Гогеновог боравка на Тахитију, његових ставова и дела кроз концепте у уметности (симболизам, примитивизам), егзотизма (онако како га је оцртао Цветан Тодоров у књизи Ми и други) и родних и постколонијалних студија (однос према жени, природи и„дивљацима“, као и репрезетација истих).

Београд, 25. мај 2008. Срђан Тунић (иу/03-67)

1880 წლების შუა ხანაში იმპრესიონიზმის კრიზისი დაიწყო. ამ მიმდინარეობის ზოგიერთი მიმდევარი აქსიომის სისწორეში ეჭვის შეტანა დაიწყეს. მათ არ აკმაყოფილებდა იმპრესიონიზმთა, თითქოს და ბუნების ბრმად მიბაძვის, ზედმეტად რაციონალური ხედვა. ამავე დროს დაიწყო განსხვავებული მიმართულების მქონე მხატვრული სკოლების ფორმირება, რაც ზოგადად XX საუკუნის დასაწყისისათვის დამახასიათებელია.

“The patron of painters — St Luke — physician, painter, evangelist — having for his symbol — alas — nothing but the ox — is there to give us hope.” — Vincent van Gogh

Rembrandt’s depictions of a Slaughtered Ox include one version in the Kelvingrove Art Gallery in Glasgow, the other in The Louvre. This paper focuses on the latter as no evidence exists van Gogh witnessed the first, while his letters explicitly reveal he viewed the oil on beech panel in Paris. From Joseph Muller’s venture that Rembrandt’s ox may be representative of death, to Kenneth Craig’s arguments that a sixteenth century Dutch interpretation of the Prodigal Son parable (Luke 15:11-32) where the killing of a “fatted calf” properly alludes to Christ's sacrifice, to Avigdor Posèq’s more recent explication that it’s a metaphor for human torment, the painting has recently enjoyed a rich interpretive history. This paper seeks to illustrate that Vincent van Gogh held dearly his own ideas about the painting; a Symbolist interpretation that includes and supersedes all of the above.

This book is a unique and comprehensive illustrated dictionary of French Art Nouveau Ceramics. A census conducted in 1901 indicated the existence of some 209 producers of pottery in France, employing a total of around 5,800 full-time labourers. This great activity stimulated a parallel development in the arts, including the search for new expressions in art pottery, giving birth to l'art nouveau, a great and eclectic synthesis of a number of other art styles. Largely through British arts and crafts, and the work of artists like the Manxman Archibald Knox, it reached far back into the prehistory of Celtic art. To this were added later medieval elements, through the gothic revival championed by William Morris.

Gauguin personaje mítico, la leyenda de un espíritu seguro de ser grande, un hombre incomprendido que se sabía gran artista. Mil historias se cuentan sobre este salvaje, todas ellas falsas, todas ellas verdaderas. Siempre con hambre, en la miseria, sin ganas de pintar, con la muerte acechando, y sin embargo, siempre gozando, viviendo en la hermosura de un lugar idílico repleto de olores, colores y sabores intensos.

Membahas lukisan berdasarkan pengaruh (sumber aliran seni pada zaman sebelumnya dan pengaruh pada aliran selanjutnya, pra ikonografis: garis, bentuk, goresan kuas, warna, pembagian bidang, perspektif, teknik khusus dan dimensi-dimensi sosial, budaya, politik, ekonomi, dan spiritual.

In Paris for twenty-two months from August 1893 to June 1895 Paul Gauguin (French, 1848-1903) deepened his vision of his first sojourn to Tahiti by way of his re-workings in his art of his Tahitian experience. From an artist who combined fact and fantasy, reality and imagination and used a variety of artistic media and innovative techniques so to create something new, a handful of monotypes and woodcuts made during the Paris interlude are presented to show their hybrid nature.  Whether Breton coifs or Tahitian pareos Gauguin united disparate objects and motifs under a veil of mystery and ambiguity to express his themes of distant memory, savagery, mystery, darkness, androgyny, sensual melancholy, exoticism, and the hieratic. Through hard work and artistic vision involving Synthetism, Symbolism, and newly, Tahitianism, Gauguin prevailed as an avant-garde leader in the Paris interlude.

A Colecção Ferreira de Almeida (Museu Municipal de Faro) resulta de uma doação de Amadeu Ferreira de Almeida (1876-1966), diplomata natural de Faro, ao Museu Municipal, em 1944. Esta Colecção compreende obras de pintura, gravura e desenho, que foram tratadas no presente estudo, mas também inclui outros objectos e peças de carácter artístico. Acerca da Colecção estudada, é de assinalar a grande preponderância de trabalhos de artistas do Norte da Europa, sobretudo dinamarqueses, facto resultante da estada do Coleccionador na
Dinamarca. Pelo mesmo motivo, há também muitas obras de artistas sul-americanos, nomeadamente do Chile. Julgamos que esta especificidade é rara nas Colecções de Arte Portuguesas. Entre as várias peças, destaca-se um desenho de Gauguin.

L’idée de cet article vise à présenter une relation  particulière entre le peintre et le poète, et à examiner les influences de la vision de Gauguin, que Segalen nomme Maître-du-Jouir, sur la création littéraire de l’écrivain. Les deux Français avaient beaucoup en commun: un sens du mystère, une fascination pour le primitif et l’exotique et un don pour l’ambiguïté. À partir de 1903 jusqu’à sa mort en 1919, la poésie et la prose de Segalen tenteront, à l’instar de l’art de Gauguin, de découvrir l’exotisme à sa manière tout en confrontant de plus en plus les limites du pouvoir d’appréhension de l’artiste occidental. Dans Les Immémoriaux, Segalen adopte un point de vue maori pour commenter la culture occidentale. Le plus grand exploit de l’auteur était de rompre avec l’exotisme colonial d’écrivains voyageurs du XIXe siècle, à titre d’exemple Pierre Loti. Là où ces auteurs ne prétendaient pas renoncer aux valeurs occidentales, voire impériales, tout en décrivant des cultures étrangères, Segalen, imitant son Maître Gauguin, était extrêmement conscient de ses représentations de l’autre de manière particulièrement moderne. Segalen réalise dans son roman ethnographique une sorte de translation d’un art à l’autre qui est, pour lui, une démarche créatrice par elle-même.

Fritz Helmuth Ehmcke's memoirs of the history of the German artists' group The Sonderbund from 1911 to 1912 (part 2; part 1: 1909-1912) and the preparation of the "International Art Exhibition of the Sonderbund" in 1912 in Cologne with works of the artists Cuno Amiet, Ernst Barlach, Paul Cézanne, Kees van Dongen, Paul Gauguin, Vincent van Gogh, Ernst Heckel, Ferdinand Hodler, Ernst Ludwig Kirchner, Wilhelm Lehmbruck, Aristide Maillol, Franz Marc, Pablo Picasso, Paul Signac and others. Ehmcke reports the move of the Sonderbund from Dusseldorf to Cologne and the foundation of the "Gilde - Westdeutscher Bund für angewandte Kunst" (Gilde - West German Association for Applied Arts, 1911-14). With an introduction and comments by Jutta Assel.

A few years ago I began a practice known as spirit painting. I saw it as a divinatory art, and as a connecting point with other people. My process is based on human and spiritual connection. Ever since that time I have been researching other versions of spirit painting and learned that sometimes this is thought of exclusively as angel paintings. This association harkens back to the methods of artistry used to communicate between spirit and flesh across the astral light found in the philosophies of Spiritualism. Often Spiritualists communicated messages about deceased persons, spirit guides, and ascended masters. I soon realized the root of this lies in the practice of automatism.

Artystyczne dokonania Paula Gauguina w ostatnich dekadach XX wieku stanowiły początek nowego rozdziału w sztuce europejskiej. Zwrot ku sztuce prymitywnej wypływał bezpośrednio z rozczarowania artysty dotychczasowym kształtem sztuki Starego Kontynentu, zarówno na poziomie artystycznym, jak i wartości estetycznych. Formalne zdobycze symbolistów, którzy stanowili najbliższe otoczenie Gauguina oraz estetyka impresjonizmu i neoimpresjonizmu nie były dla niego artystycznie satysfakcjonujące.
Wewnętrzna potrzeba powrotu do tego, co pierwotne i nieskażone destrukcyjną cywilizacją zachodnioeuropejską stała się dla Gauguina impulsem do zamorskich podróży w poszukiwaniu nowych artystycznych horyzontów. To właśnie tam, w odmiennym kulturowo świecie, Gauguin odnalazł inspiracje do swoich najważniejszych dzieł – Manao tupapau (Duch zmarłych czuwa) z 1892 roku czy Skąd przybywamy? Kim jesteśmy? Dokąd idziemy? z roku 1897. Zwrot ku estetyce prymitywizmu sprawił, że jego dzieła stały się dzikie i „barbarzyńskie”, jak je wówczas określano.
Jednocześnie dzieła Gauguina stały się w tym kontekście zapisem jego indywidualnych poszukiwań swojego miejsca na ziemi i wyrazem osobistego stosunku do świata poza Europą. Artysta poszukując nowych artystycznych inspiracji starał się bowiem nie tylko przeobrazić sztukę europejską poza samą Europą, ale także na nowo określić swoją artystyczną tożsamość. Celem artykułu jest próba autobiograficznego odczytania prymitywistycznej sztuki Gauguina jako (1) próby przełamania artystycznych i estetycznych kanonów tradycyjnej sztuki europejskiej oraz (2) zapisu tożsamościowych poszukiwań artysty wyobcowanego z rodzimej kultury europejskiej.