Top 100 - Paul Gauguin
The 100 known paintings that tell the story of Paul Gauguin
Brittany, Arles, Martinique, Tahiti and Marquesas: Gauguin simplifies shapes, loads colors with symbols and constructs an elsewhere that must be looked at with admiration, but without turning a blind eye to its context.
Paul Gauguin wanted a painting capable of speaking other than naturalism. Color takes up a lot of space; the legend of the artist too, and it sometimes deserves to be asked for his papers.
Color creates its own world
One hundred paintings, elsewhere requires a second look
Gauguin begins in the vicinity of impressionism, then moves away from it to seek a more constructed, more synthetic and more symbolic painting. Instead of describing each transition of light, it simplifies shapes, surrounds silhouettes and gives colors a new autonomy. The Vision after the sermon summarizes this shift: red does not imitate Breton soil, it makes a mental image visible.
Gauguin simplifies shapes to give more strength to colors and symbols. The image hits quickly; its story deserves to be stayed a little longer than in front of a travel brochure.Switch to images
Classification in images
Where do we come from?, The Vision after the sermon, The Yellow Christ, Manao tupapau and the great Tahitian images open the journey.
#1
Where do we come from? What are we? Where are we going?
For "Where do we come from? What are we? Where are we going?": Painted in Tahiti in 1897-1898, this vast composition brings together several ages of life in a landscape designed as a meditation. For this version of "Where do we come from? What are we? Where are we going?": Gauguin presents it as a capital work, to be read from right to left, from the child to the old woman close to death. "Where do we come from? What are we? Where are we going?": Gauguin presents it as a capital work, to be read from right to left, from the child to the old woman close to death. "Where do we come from? What are we? Where are we going?": Gauguin presents it as a capital work, to be read from right to left, from the child to the old woman close to death. "Where do we come from? What are we? Where are we going?": Gauguin presents it as a capital work, to be read from right to left, from the child to the old woman close to death. "Where do we come from? What are we? Where are we going?" is dated 1897-1898; it measures 139.1 x 374.6 cm;" is dated 1897-1898; it measures 139.1 x 374.6 cm; it is dated 1897-1898; it measures 139.1 x 374.6 cm; it is dated 18 seduce; it affirms a way of seeing where matter, distance and light work together. The painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "Where do we come from? What are we? Where are we going?" thus maintains a strong presence without depending on a spectacular anecdote; color has already largely fulfilled its contract.
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#2
Vision after the sermon
For "Vision after the sermon": Breton women in headdresses see Jacob struggling with the angel after the sermon; color leads the gaze without rigidity. For this version of "Vision after the sermon": The red ground, the diagonal tree and the circled shapes break with the naturalistic depth and make mental vision the true space of the painting. In "Vision after the Sermon", the work is dated 1888; it is kept at the National Galleries of Scotland, Edinburgh; it measures 72.2 x 91 cm. For "Vision after the sermon", the work is dated 1888; it is kept at the National Galleries of Scotland, Edinburgh; it measures 72.2 x 91 cm. For "Vision after the sermon", the work is dated 1888; it is kept at the National Galleries of Scotland, Edinburgh; it measures 72.2 x 91 cm. For "Vision after the sermon", the work is dated 1888; it is kept at the National Galleries of Scotland, Edinburgh; it measures 72.2 x 91 cm. For "Vision after the sermon", the work is dated 1888; it is kept at the National Galleries of Scotland, Edinburgh; it measures 72.2 x 91 cm. For "Vision after the sermon", the work is dated 1888; it is kept at the National Galleries of Scotland, Edinburgh; it measures 72.2 x 91 cm. For "Vision after the sermon", the work is dated 1888; "Vision after the sermon", the painting belongs to a trajectory where the initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. The story of "Vision after the sermon" counts as much as its harmony, because the beauty of the flat areas does not cancel out either the context or the questions that the image continues to ask.
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#3
The Yellow Christ
For "The Yellow Christ": Christ takes on the color of the autumn fields while Breton women pray at the foot of Calvary; the rhythm leads the gaze without rigidity. For this version of "The Yellow Christ": Gauguin unites popular religion, partitionism and the landscape of Pont-Aven in an image where yellow organizes both the symbol and the light. "The Yellow Christ" is dated 1889; it measures 92.1 x 73.3 cm; it is kept at the Buffalo AKG Art Museum. For "The Yellow Christ" is dated 1889; it measures 92.1 x 73.3 cm; it is kept at the Buffalo AKG Art Museum. For "The Yellow Christ" by Paul Gauguin is dated 1889; it measures 92.1 x 73.3 cm; it is kept at the Buffalo AKG Art Museum. For "The Yellow Christ" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much hurrying eyes. In "The Yellow Christ", the motif breton allows Gauguin to mix popular religion, rural life, Japanese prints and synthetic solid colors, far from the simple regional scene in Sunday costume. Gauguin gives "The Yellow Christ" real decorative authority, but the painting gains especially when we observe what its forms simplify, invent or silence.
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#4
Manaolo tupapaú
For "Manao tupapaú": A young Tahitian woman lies on a bed while a dark presence watches at the back of the room; the framing leads the gaze there without rigidity. For this version of "Manao tupapaú": Gauguin mixes nocturnal fear, Western pose and personal story in a powerful image whose colonial and biographical context must remain visible. Today kept at the Albright-Knox Art Gallery, Buffalo, "Manao tupapaú" is dated 1892 and measures 72.4 x 92.4 cm. For "Manao tupapaú" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much prying eyes. In "Manao tupapaú, the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration must not erase. Gauguin gives "Manaolo tupapaú" real decorative authority, but the painting gains especially when we observe what its forms simplify, invent or silence.
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#5
When are you getting married?
For "When are you getting married": Two women occupy very constructed shots of color, one facing the viewer, the other sitting in profile; the surface leads the gaze without rigidity. For this version of "When are you getting married": The Tahitian title Nafea faa ipoipo? For this version of "When are you getting married": adds a question to a composition that carefully keeps its distance. "When are you getting married" is dated 1892; it measures 101.5 x 77.5 cm; it is kept in the private collection. For "When are you getting married" is dated 1892; it measures 101.5 x 77.5 cm; it is kept in the private collection. For "When are you getting married" is dated 1892; it measures 101.5 x 77.5 cm; it is kept in the private collection. For "When are you getting married" is dated 1892; it measures 101.5 x 77.5 cm; it is kept in the private collection. For "When are you getting married" is dated 1892; it measures 101.5 x 77.5 cm; it is kept in the private collection. For "When are you getting married" is dated 1892; it measures 101.5 x 77.5 cm; it is kept in the private collection. For "When are you getting married" is dated 1892; it measures 101.5 x 77.5 cm; it is kept in the private collection. When do you get married, the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "When are you getting married", the painting leaves a lasting impression because it brings together visual clarity and historical ambiguity, an alliance less relaxing than a sunset, but much more interesting.
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#6
Ia Orana Maria
For "Ia Orana Maria": Gauguin transposes the Annunciation and the Virgin and Child into a Tahitian landscape; the contrast leads the gaze without rigidity. For this version of "Ia Orana Maria": The halos, the angel with yellow wings, the pareos and the fruits bring together Christian iconography, observation and colonial invention in the same image. "Ia Orana Maria" is dated 1891 and kept at the Metropolitan Museum of Art, New York; it measures 113.7 x 87.6 cm. For "Ia Orana Maria" is dated 1891 and kept at the Metropolitan Museum of Art, New York; it measures 113.7 x 87.6 cm. For "Ia Orana Maria" by Paul Gauguin, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Ia Orana Maria", the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Ia Orana Maria", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. The pleasure of "Ia Orana Maria" comes from this double movement: an immediately recognizable image and a construction that becomes stranger the more you look at it.
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#7
Women of Tahiti
For "Women of Tahiti": Two women sitting on the beach form a stable composition of profiles, arabesques and retained colors; the pattern leads the gaze without rigidity. For this version of "Women of Tahiti": Their silence gives the painting a gravity that the tropical decor never transforms into a simple postcard. "Women of Tahiti" is dated 1891; it measures 69 x 91.5 cm; it is kept at the Musée d'Orsay, Paris. For "Women of Tahiti" by Paul Gauguin, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Women of Tahiti", the look belongs to the universe polynesian by Gauguin, a set of major images for modern art but produced in a colonial context that formal admiration must not erase. The pleasure of "Women of Tahiti" comes from this double movement: an immediately recognizable image and a construction that becomes stranger the more you look at it.
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#8
The White Horse
For "The White Horse": A horse descends towards the water under trees with blue and purple trunks, while riders appear further away; the composition leads the gaze without rigidity. For this version of "The White Horse": The scene seems observed, but its colors and proportions move it towards a mental landscape. Dated 1898, "The White Horse" is kept at the Musée d'Orsay, Paris and measures 140.5 x 92 cm. For "The White Horse" by Paul Gauguin, the painting is not only preserved at the Musée d'Orsay, Paris and measures 140.5 x 92 cm. For "The White Horse" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. For "The White Horse" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The White Horse", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The White Horse", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The White Horse", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The White Horse", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The White Horse", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and initial gradually gives way to flat areas, signs and an increasingly autonomous color. In "The White Horse", the painting leaves a lasting impression because it brings together visual clarity and historical ambiguity, an alliance less relaxing than a sunset, but much more interesting.
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#9
Never again
For "Never Again": Nevermore's French title refers to Edgar Allan Poe's raven, placed behind an elongated figure which in no way appears to be at rest; the line gives its temperature to the whole. For this version of "Never Again": Beauty, anxiety and colonial gaze intersect in this late canvas without forming a comfortable story. Today kept at Courtauld, "Never Again". For "Never Again" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great illness of too eager glances. In "Never Again", the painting belongs to a trajectory where initial impressionism gives way gradually give way to flat areas, signs and an increasingly autonomous color. Gauguin gives "Never Again" real decorative authority, but the painting gains especially when we observe what its forms simplify, invent or silence.
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#10
God's Day
For "Day of God": Mahana no atua organizes figures, idol and strips of water into almost abstract areas; the color gives its temperature to the whole. For this version of "Day of God": Painted in Paris after the first Tahitian stay, the work transforms memory into rhythmic composition rather than faithful memory. "Day of God" is dated 1894; it measures 68 x 91 cm; it is kept at the Art Institute of Chicago. For "Day of God" is dated 1894; it measures 68 x 91 cm; it is kept at the Art Institute of Chicago. For "Day of God" is dated 1894; it measures 68 x 91 cm; it is kept at the Art Institute of Chicago. For "Day of God" by Paul Gauguin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Day of God", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Day of God", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Day of God", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Day of God", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its initial gradually gives way to solid colors, signs and an increasingly autonomous color. The story of "Day of God" matters as much as its harmony, because the beauty of the solid colors cancels neither the context nor the questions that the image continues to ask.
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#11
Hina Tefatou
For "Hina Tefatou": Hina, spirit of the Moon, raises her arms towards Tefatou, spirit of the Earth, in a very personal interpretation of a Polynesian story; the rhythm gives its temperature to the whole. For this version of "Hina Tefatou": The differences in scale and flat areas make the mythical dialogue an architecture of color. In "Hina Tefatou", the work is dated 1893; it is kept at the Museum of Modern Art, New York; it measures 114.3 x 62.2 cm. For "Hina Tefatou" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Hina Tefatou", the work is dated 1893; it is kept at the Museum of Modern Art, New York; it measures 114.3 x 62.2 cm. For "Hina Tefatou" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Hina Tefatou", the work is dated 1893; it is kept at the Museum of Modern Art, New York; it measures 114.3 x 62.2 cm. For "Hina Tefatou" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Hina Tefatou", the work is dated 1893; it is belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration must not erase. In a reproduction, "Hina Tefatou" above all retains its rhythm of masses and colors; this is where the painting avoids becoming a simple invitation to travel.
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#12
Fatata te Miti
For "Fatata te Miti": Two women enter the sea while a fisherman stands further away; the framing gives the whole thing its temperature. For this version of "Fatata te Miti": Gauguin simplifies bodies, rocks and water into large colored areas, giving swimming a monumental presence that goes beyond the anecdote. "Fatata te Miti" is dated 1892; it measures 67.9 x 91.5 cm; it is kept at the National Gallery of Art, Washington. For "Fatata te Miti" by Paul Gauguin, the painting is not only seeking to seduce; it asserts a way of seeing where matter, distance and light work together. In "Fatata te Miti", the painting is dated 1892; it measures 67.9 x 91.5 cm; it is kept at the National Gallery of Art, Washington. For "Fatata te Miti" by Paul Gauguin, the painting is not only intended to seduce; it asserts a way of seeing where matter, distance and light work together. In "Fatata te Miti", the painting does not only seek to seduce; it asserts a way of seeing where matter, distance and light work together. In "Fatata te Miti", the painting does not only seek to seduce; it asserts a way of seeing where matter, distance and light work together. In "Fatata te Miti", the painting does not only seek to seduce; it asserts a way of seeing where matter, distance and light work together. In "Fatata te Miti", the painting does not only seek to seduce; it asserts a way of seeing where matter, Gauguin, a set of major images for modern art but produced in a colonial context that formal admiration must not erase. "Fatata te Miti" finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its production, it makes it its subject.
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#13
Te aa no areois
For "Te aa no areois": A seated figure holds a seed in a tropical landscape constructed by plans; the surface gives its temperature to the whole. For this version of "Te aa no areois": The title, often translated as La Graine des Areoi, nourishes the mythology invented by Gauguin as much as it identifies the subject. "Te aa no areois" is dated 1892 and kept at the Museum of Modern Art, New York; it measures 92.1 x 72.1 cm. For "Te aa no areois" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Te aa no areois", the subject belongs to the Polynesian universe by Gauguin, a set of major images for modern art but produced in a colonial context that formal admiration must not erase. In a reproduction, "Te aa no areois" above all retains its rhythm of masses and colors; this is where the painting avoids becoming a simple invitation to travel.
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#14
Two Tahitian women on the beach
"Two Tahitian women on the beach" constructs its strangeness methodically: a silhouette, a tree, an object or a color is enough to shift the entire reading; the contrast gives its temperature to the whole. Today kept at the Metropolitan Museum of Art, New York, "Two Tahitian women on the beach" is dated 1899 and measures 94 x 72.4 cm. For "Two Tahitian women on the beach" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Two Tahitian women on the beach" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Two Tahitian women on the beach" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Two Tahitian women on the beach" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Two Tahitian women on the beach" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo in a colonial context that formal admiration must not erase. The singularity of "Two Tahitian Women on the Beach" is due to this precise organization: the image remains accessible, but it does not reveal all its logic in the first passage.
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#15
The Beautiful Angela
For "La Belle Angèle": Marie-Angélique Satre, innkeeper from Pont-Aven, appears in an oval medallion in front of a decorative background, accompanied by anthropomorphic pottery; the pattern gives the whole thing its temperature. For this version of "La Belle Angèle": The model hates the result; Degas buys the canvas, proof that interior openings do not always vote the same. Today kept at the Musée d'Orsay, Paris, "La Belle Angèle" is dated 1889 and measures 92 x 73.2 cm. For "La Belle Angèle" by Paul Gauguin, the strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "La Belle Angèle", the Breton motif allows Gauguin to mix popular religion, rural life, Japanese prints and synthetic solid colors, far from the simple regional scene in Sunday costume. "La Belle Angèle" is therefore neither limited to its exoticism nor its palette; its strength comes from the very calculated relationship between surface, symbol and point of view.
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#16
Portrait of the artist with the Yellow Christ
For "Portrait of the Artist with the Yellow Christ": Gauguin places himself between The Yellow Christ and a pottery with a grotesque face; the composition gives its temperature to the whole. For this version of "Portrait of the Artist with the Yellow Christ": This self-portrait not only documents his features: he carefully organizes the painter, the martyr and the idol in the same personal legend. In "Portrait of the Artist with the Yellow Christ", the work is dated 1890-1891; it is kept at the Musée d'Orsay, Paris; it measures 38 x 46 cm. For "Portrait of the Artist with the Yellow Christ", the work is dated 1890-1891; it is kept at the Musée d'Orsay, Paris; it measures 38 x 46 cm. For "Portrait of the Artist with the Yellow Christ", the work is dated 1890-1891; it is kept at the Musée d'Orsay, Paris; it measures 38 x 46 cm. For "Portrait of the Artist with the Yellow Christ", the work is dated 1890-1891; it is kept at the Musée d'Orsay, Paris; it measures 38 x 46 cm. For "Portrait of the Artist with the Yellow Christ", the work is dated 1890-1891; it is kept at the Musée d' the eye, enough breathing to let the scene live. In "Portrait of the artist with the yellow Christ", the Breton motif allows Gauguin to mix popular religion, rural life, Japanese prints and synthetic solid colors, far from the simple regional scene in Sunday costume. "Portrait of the artist with the yellow Christ" therefore boils down neither to his exoticism nor to his palette; its strength comes from the very calculated relationship between surface, symbol and point of view.
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#17
Self-portrait in Nimbus
For "Self-portrait with Nimbus": A nimbus, apples and a snake share the panel with Gauguin's face; the line usefully delays the first reading. For this version of "Self-portrait with Nimbus": The artist presents himself as both a saint and a tempter, with a symbolic modesty which has clearly taken his day off. "Self-portrait with Nimbus" is dated 1889 and kept at the National Gallery of Art, Washington; it measures 79.2 x 51.3 cm. For "Self-portrait with Nimbus" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with Nimbus", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with Nimbus", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with Nimbus", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with Nimbus", the composition is read in stages: first the motif, then the masses, then the portrait here becomes a tool for psychological construction and sometimes personal staging; pose, background and attributes say as much as the features of the model. The singularity of "Self-portrait at Nimbus" is due to this precise organization: the image remains accessible, but it does not reveal all its logic in the first passage.
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#18
The Alyscamps
For "Les Alyscamps": The inclined trees and the orange path of the Alyscamps transform the Arlesian promenade into a rhythm of colors; color usefully delays the first reading. For this version of "Les Alyscamps": Gauguin constructs depth in bands and diagonals, at a time when his dialogue with Van Gogh becomes as fertile as it is difficult. "Les Alyscamps" is dated 1888 and kept at the Musée d'Orsay, Paris; it measures 91.5 x 72.5 cm. For "Les Alyscamps" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Les Alyscamps", the period d'Arles condenses a decisive dialogue with Van Gogh: same desire for expressive color, different methods and cohabitation whose walls would probably have required mediation. In a reproduction, "Les Alyscamps" above all retains its rhythm of masses and colors; this is where the painting avoids becoming a simple invitation to travel.
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#19
The Green Christ
For "The Green Christ": The green body of Christ dominates Breton women returning from forgiveness; the rhythm usefully delays the first reading. For this version of "The Green Christ": The sculpted ordeal, the coast and the local headdresses bring together real landscape, popular faith and symbolic color. "The Green Christ" is dated 1889; it measures 92 x 73 cm; it is kept at the Royal Museums of Fine Arts of Belgium, Brussels. For "The Green Christ" is dated 1889; it measures 92 x 73 cm; it is kept at the Royal Museums of Fine Arts of Belgium, Brussels. For "The Green Christ" by Paul Gauguin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Green Christ", the Breton motif allows Gauguin to mix religion popular, rural life, Japanese prints and synthetic solids, far from the simple regional scene in Sunday costume. "The Green Christ" is therefore neither limited to his exoticism nor his palette; its strength comes from the very calculated relationship between surface, symbol and point of view.
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#20
Te tamari no atua
For "Te tamari no atua": A mother and her child are associated with spiritual figures in a Tahitian Nativity; the framing usefully delays the first reading. For this version of "Te tamari no atua": Gauguin transposes a Christian subject into Polynesia, creating a visually strong image which also reveals the religious and colonial projections of his gaze. "Te tamari no atua" is dated 1896; it measures 96 x 131 cm; it is kept at the Neue Pinakothek, Munich. For "Te tamari no atua" by Paul Gauguin, the painting is not only seeking to seduce; it affirms a way of seeing where matter, distance and light work together. In "Te tamari no atua", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Te tamari no atua", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration must not erase. In "Te tamari no atua", the painting leaves a lasting impression because it brings together visual clarity and historical ambiguity, an alliance less relaxing than a sunset, but much more interesting.
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#21
Nave Nave Mahana
For "Nave Nave Mahana": Tahitian women occupy a landscape punctuated by vertical trunks, slow gestures and bold colors; the surface usefully delays the first reading. For this version of "Nave Nave Mahana": The title evokes delicious days, while the composition constructs less of a report than a dream world. "Nave Nave Mahana" is dated 1894 and kept at the Lyon Museum of Fine Arts; it measures 95 x 130 cm. For "Nave Nave Mahana" by Paul Gauguin, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much scrutiny. In "Nave Nave Mahana", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Nave Nave Mahana", the subject belongs to gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration must not erase. "Nave Nave Mahana" finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its production, it makes it its subject.
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#22
Ta Matete
For "Ta Matete": A row of seated women transforms the market into a monumental frieze; the contrast usefully delays the first reading. For this version of "Ta Matete": The profiles and gestures borrow as much from Papeete's observations as from the ancient reliefs studied by Gauguin. Today kept at the Kunstmuseum (Basel), "Ta Matete" is dated 1892 and measures 79 x 91 cm. For "Ta Matete" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: for "Ta Matete" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Ta Matete", the subject belongs to Gauguin's Polynesian universe, a set of major images for art modern but produced in a colonial context that formal admiration should not erase. In "Ta Matete", each color seems sure of itself; the gaze, fortunately, can still retain the right to ask a few questions.
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#23
E haere oe I hia
In "E haere oe I hia", Gauguin retains some essential elements and charges them with intensity; simplification acts as a concentration, in no way as a lack; the motif usefully delays the first reading. Now kept at the Staatsgalerie Stuttgart, "E haere oe I hia" is dated 1892 and measures 96 x 69 cm. For "E haere oe I hia" by Paul Gauguin, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "E haere oe I hia" by Paul Gauguin, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "E haere oe I hia" by Paul Gauguin, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "E haere oe I hia" by Paul Gauguin, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "E haere oe I hia" by Paul Gauguin, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "E haere oe I hia" by Paul Gauguin, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "E haere formal should not erase. "E haere oe I hia" finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#24
Te Rerioa
For "Te Rerioa": Two women watch over a child in a room decorated with reliefs, without any exchange clearly explaining the scene; the composition usefully delays the first reading. For this version of "Te Rerioa": Gauguin himself insists on the dream character of this late composition. Today kept at the Courtauld Institute, London, "Te Rerioa" is dated 1897 and measures 95 x 130 cm. For "Te Rerioa" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Te Rerioa" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Te Rerioa", the subject belongs to Gauguin's Polynesian universe, a whole major images for modern art but produced in a colonial context that formal admiration must not erase. The singularity of "Te Rerioa" lies in this precise organization: the image remains accessible, but it does not deliver all its logic to the first passage.
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#25
Barbarian tales
For "Barbarian Tales": Three figures occupy a dense landscape where Meyer de Haan's frontal face takes on an almost spectral intensity; the line maintains a clear decorative tension there. For this version of "Barbarian Tales": Color, memory and personal mythology give the canvas a strangeness that does not seek to be amiable. "Barbarian Tales" is dated 1902; it measures 150 x 109 cm; it is kept at the Folkwang Museum, Essen. For "Barbarian Tales" by Paul Gauguin, the painting does not only seek to seduce; it asserts a way of seeing where matter, distance and light work together. In "Barbarian Tales", the painting belongs to one trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Barbarian Tales", the painting leaves a lasting impression because it brings together visual clarity and historical ambiguity, an alliance less relaxing than a sunset, but much more interesting.
Discover →Pont-Aven, Le Pouldu, les Bretonnes, the self-portraits and the dialogue with Van Gogh show how language is constructed.
#26
The Loss of Childhood
The framing of "The Loss of Virginage" favors the relationships of shapes and tones; realism declines, but the composition gains a very visible framework; the color maintains a clear decorative tension. "The Loss of Virginage" is dated 1890-1891; it measures 89 x 130 cm; it is kept at the Chrysler Museum of Art, Norfolk. For "The Loss of Virginage" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "The Loss of Virginage", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and a increasingly autonomous color. In "The Loss of Virginity", each color seems sure of itself; the gaze, fortunately, can still retain the right to ask a few questions.
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#27
Christ in the Garden of Olives
In "Christ in the Garden of Olives", the line holds the shapes while the color takes some very calculated liberties; the whole seems direct, never improvised at random; the rhythm maintains a clear decorative tension. "Christ in the Garden of Olives" is dated 1889 and kept at the Norton Museum of Art, West Palm Beach; it measures 73 x 92 cm. For "Christ in the Garden of Olives" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Christ in the Garden of Olives" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Christ in the Garden of Olives", the Breton motif allows Gauguin to mix popular religion, rural life, japanese prints and synthetic solids, far from the simple regional scene in Sunday costume. Gauguin gives "Christ in the Garden of Olives" real decorative authority, but the painting gains especially when we observe what its forms simplify, invent or silence.
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#28
Hello Mr. Gauguin
For "Bonjour Monsieur Gauguin": Gauguin represents himself meeting a peasant woman on a Breton path; the framing maintains a clear decorative tension there. For this version of "Bonjour Monsieur Gauguin": The scene plays with Courbet, the self-portrait and the creation of an identity as a traveling artist, already very busy writing his own biography. Dated 1889, "Bonjour Monsieur Gauguin" is kept at the National Gallery in Prague and measures 93 x 74 cm. For "Bonjour Monsieur Gauguin" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are maintained in the same surface. In "Bonjour Monsieur Gauguin" the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Bonjour Monsieur Gauguin", the painting leaves a lasting impression because it brings together visual clarity and historical ambiguity, an alliance less relaxing than a sunset, but much more interesting.
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#29
Vincent van Gogh painting sunflowers
For "Vincent van Gogh painting sunflowers": Van Gogh is depicted in front of his easel, absorbed by sunflowers; the surface maintains a clear decorative tension there. For this version of "Vincent van Gogh painting sunflowers": The portrait records the artistic friendship and tension of Arles with an economy of forms that says more than a colocation photograph. Dated 1888, "Vincent van Gogh painting sunflowers" is kept at the Van-Gogh Museum, Amsterdam and measures 73 x 91 cm. For "Vincent van Gogh painting sunflowers" is kept at the Van-Gogh Museum, Amsterdam and measures 73 x 91 cm. For "Vincent van Gogh painting sunflowers" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Vincent van Gogh painting sunflowers", the Arles period condenses a decisive dialogue with Van Gogh: same desire for expressive color, different methods and cohabitation whose walls would probably have required mediation. In "Vincent van Gogh painting sunflowers", each color seems self-confident; the look, fortunately, can still retain the right to ask a few questions.
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#30
Arlesiennes (Mistral)
"Arlesiennes (Mistral)" brings the planes together and slows down the transitions so that the subject exists as a frontal presence, almost sculpted by color; the contrast maintains a clear decorative tension there. Today kept at the Art Institute of Chicago, "Arlesiennes (Mistral)" is dated 1888 and measures 73 x 92 cm. For "Arlesiennes (Mistral)" by Paul Gauguin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Arlesiennes (Mistral)", the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Arlesiennes (Mistral)", the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Arlesiennes (Mistral)", the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Arlesiennes (Mistral)", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and one more color more autonomous. "Arlesiennes (Mistral)" is therefore neither limited to its exoticism nor its palette; its strength comes from the very calculated relationship between surface, symbol and point of view.
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#31
Café in Arles
The framing of "Café à Arles" favors the relationships of shapes and tones; realism declines, but the composition gains a very visible framework; the motif maintains a clear decorative tension. "Café à Arles" is dated 1888; it measures 72 x 92 cm; it is kept at the Pushkin Museum, Moscow. For "Café à Arles" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Café à Arles", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Café à Arles", the Arles period condenses a decisive dialogue with Van Gogh: same desire for expressive color, different methods and cohabitation which the walls would probably have required mediation. In "Café à Arles", each color seems sure of itself; the gaze, fortunately, can still retain the right to ask a few questions.
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#32
Harvest in Arles or Human Miseries
In "Vendanges à Arles ou Misères humaine", the outline closes the shapes before the color decides the atmosphere; Gauguin prefers a constructed image to light captured in flight; the composition maintains a clear decorative tension. Today kept in Ordrupgaard, Copenhagen, "Vendanges à Arles ou Misères humaine" is dated 1888. For "Vendanges à Arles ou Misères humaine" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Vendanges à Arles ou Misères humaine", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Vendanges à Arles ou Misères humaine", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Vendanges à Arles ou Misères humaine", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Vendanges à Arles ou Misères humaine", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Vendanges à Arles ou Misères hum expressive color, different methods and cohabitation whose walls would probably have required mediation. In "Vendanges à Arles ou Misères humaine", each color seems sure of itself; the gaze, fortunately, can still retain the right to ask a few questions.
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#33
Alyscamps Alley
For "L’Allée des Alyscamps": The inclined trees and the orange path of the Alyscamps transform the Arlesian promenade into a rhythm of colors; the line organizes the details without stifling them. For this version of "L’Allée des Alyscamps": Gauguin constructs depth in bands and diagonals, at the moment when his dialogue with Van Gogh becomes as fertile as it is difficult. In "L’Allée des Alyscamps", the work is dated 1888; it is kept at the Musée d’Orsay, Paris; it measures 91.5 x 72.5 cm. For "L’Allée des Alyscamps" by Paul Gauguin, the painting is dated 1888; it is kept at the Musée d’Orsay, Paris; it measures 91.5 x 72.5 cm. For "L’Allée des Alyscamps" by Paul Gauguin, the painting is dated 1888; it is kept at the Musée d’Orsay, Paris; it measures 91.5 x 72.5 cm. For "L’Allée des Alyscamps" by Paul Gauguin, the painting is dated 1888; it is kept at the Musée d’Orsay, Paris; it measures 91.5 x 72.5 cm. For " The Allée des Alyscamps, the Arles period condenses a decisive dialogue with Van Gogh: same desire for expressive color, different methods and cohabitation whose walls would probably have required mediation. "The Allée des Alyscamps" thus maintains a strong presence without depending on a spectacular anecdote; color has already largely fulfilled its contract.
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#34
The Round of Little Bretons
For "La Ronde des petites Bretonnes": Young Bretons turn in a meadow under a high horizon; color organizes details without stifling them. For this version of "La Ronde des petites Bretonnes": The repetition of silhouettes and the simplification of the landscape transform the game into a decorative and almost ceremonial motif. Today kept at the National Gallery of Art, "La Ronde des petites Bretonnes" is dated 1888 and measures 73 x 92.7 cm. For "La Ronde des petites Bretonnes" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "La Ronde des petites Bretonnes" petites Bretonnes", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. Gauguin gives "La Ronde des petites Bretonnes" real decorative authority, but the painting gains especially when we observe what its forms simplify, invent or silence.
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#35
The blue trees (You will pass there, beautiful one)
For "The blue trees (You will pass there, the beautiful one)": Blue trunks both close and open the passage into the Breton landscape; the rhythm organizes the details without stifling them. For this version of "The blue trees (You will pass there, the beautiful one)": Gauguin chooses an expressive color rather than descriptive, then leaves the title You will pass there, the beautiful one adds a little enigma to the path. Today kept at the Ordrupgaard, "The blue trees (You will pass there, the beautiful one)": Gauguin chooses an expressive color rather than a descriptive one, then leaves the title You will pass there, the beautiful one adds a little enigma to the path. Today kept at the Ordrupgaard, "The blue trees (You will pass there, the beautiful one)" is dated 1888 and measures 93 x 73 cm. For "The blue trees (You will pass there, the beautiful one)" is dated 1888 and measures 93 x 73 cm. For "The blue trees (You will pass there, the beautiful one)" is dated 1888 and measures 93 x 73 cm. For "The blue trees (You will pass there, the beautiful one)" is dated 1888 and measures 93 x 73 cm. For "The blue trees (You will pass there, the beautiful one)" is interchangeable, this great disease of too eager glances. In "The Blue Trees (You will pass there, the beautiful one)", the painting belongs to a trajectory where the initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In a reproduction, "The Blue Trees (You will pass there, the beautiful one)" above all retains its rhythm of masses and colors; this is where the painting avoids becoming a simple invitation to travel.
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#36
Gloanec Party
In "Fête Gloanec", the figures and the landscape participate in the same decorative movement; no one is relegated to the role of tidy exotic furniture; the framing organizes the details without stifling them. In "Fête Gloanec", the work is dated 1888; it is kept at the Musée des Beaux-Arts in Orléans; it measures 49 x 65 cm. For "Fête Gloanec" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Fête Gloanec", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Fête Gloanec", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Fête Gloanec", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Fête Gloanec", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Fête Gloanec", the composition can be read in stages: first the motif, then the masses, sunday. "Gloanec Festival" is therefore neither limited to its exoticism nor its palette; its strength comes from the very calculated relationship between surface, symbol and point of view.
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#37
The Pig Woman, in the heat
"The Woman with Pigs, in Full Heat" brings the shots together and slows down the transitions so that the subject exists as a frontal presence, almost sculpted by color; the surface organizes the details without stifling them. For "The Woman with Pigs, in Full Heat" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "The Woman with Pigs, in Full Heat", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "The Woman with Pigs, in Full Heat", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, to signs and to an increasingly autonomous color. "The Woman with Pigs, in Full Heat", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, to signs and to an increasingly autonomous color. "The Woman with Pigs, in Full Heat", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, to signs and to an increasingly autonomous color. heat" is therefore neither limited to its exoticism nor its palette; its strength comes from the very calculated relationship between surface, symbol and point of view.
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#38
The Four Bretons
The framing of "Les Quatre Bretonnes" favors the relationships of shapes and tones; realism declines, but the composition gains a very visible framework; the contrast organizes the details without stifling them. For "Les Quatre Bretonnes" by Paul Gauguin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Les Quatre Bretonnes", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Les Quatre Bretonnes", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Les Quatre Bretonnes", the painting belongs to a trajectory where initial impressionism gradually gives way to solid colors, signs and an increasingly autonomous color. In "Les Quatre Bretonnes", the painting belongs to a trajectory where initial impressionism gradually gives way to solid colors, signs and an increasingly autonomous color. In "Les Quatre Bretonnes", each color seems sure of itself; the gaze, fortunately, can still retain the right to ask a few questions.
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#39
Breton women near the sea
The first look at "Bretonnes near the sea" encounters a concrete motif, then the colors quickly move the scene towards memory, symbol or invention; the motif organizes the details without stifling them. For "Bretonnes near the sea" by Paul Gauguin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Bretonnes near the sea", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Bretonnes near the sea", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Bretonnes near the sea", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Bretonnes near the sea", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Bretonnes near the sea", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Bretonnes near the sea", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Bretonnes near the sea", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an
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#40
Bretons at the turn of a road, or Bretons and calves
In "Bretonnes at the turn of a road, or Bretonnes and calf", the outline closes the shapes before the color decides the atmosphere; Gauguin prefers a constructed image to light captured in flight; the composition organizes the details without stifling them. For "Bretonnes at the turn of a road, or Bretonnes and calf" by Paul Gauguin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Bretonnes at the turn of a road, or Bretonnes and calf" by Paul Gauguin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Bretonnes at the turn of a road, or Bretonnes and calf" by Paul Gauguin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Bretonnes at the turn of a road, or Bretonnes and calf", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and one more color more autonomous. In "Bretonnes at the bend of a road, or Bretonnes and calf", each color seems sure of itself; the gaze, fortunately, can still retain the right to ask a few questions.
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#41
Breton fishermen
The rhythm of "Breton Fishermen" depends on repetitions, deviations and simple masses; Gauguin knows that an image can speak loudly without multiplying details; the line transforms the ornament into structure. For "Breton Fishermen" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Breton Fishermen", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Breton Fishermen", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Breton Fishermen", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Breton Fishermen", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Breton Fishermen", the painting belongs to a trajectory where initial impressionism gradually gives way to solid areas, signs and an increasingly autonomous color. In "Breton Fishermen", the painting belongs to a trajectory where initial impressionism gradually gives way to solid areas, signs and an increasingly autonomous color. In "Breton Fishermen", the painting belongs to a trajectory where initial impressionism gradually gives way to solid areas, signs and an increasingly autonomous color. In "Breton Fishermen", the painting belongs to a historical ambiguity, alliance less relaxing than a sunset, but much more interesting.
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#42
Swimming at the Bois D’Amour mill
The rhythm of "La Baignade au moulin du Bois D’Amour" depends on repetitions, deviations and simple masses; Gauguin knows that an image can speak loudly without multiplying details; color transforms ornament into structure. For "La Baignade au moulin du Bois D’Amour" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "La Baignade au moulin du Bois D’Amour", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "La Baignade au moulin du Bois D’Amour", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Baignade au moulin du Bois D’Amour", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and light. In "La Baignade au moulin du Bois D’Amour", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Baignade au moulin du Bois D’Amour", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and light. In "La Baignade au moulin du Bois D’Amour", the painting belongs to a trajectory where material, leaves a lasting impression because it brings together visual clarity and historical ambiguity, an alliance less relaxing than a sunset, but much more interesting.
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#43
Self-portrait with the portrait of Bernard
"Self-portrait with the portrait of Bernard" refuses docile color; rhythm transforms ornament into structure. In "Self-portrait with the portrait of Bernard", the tones organize the image, impose a mood and give the subject a strength that the mere resemblance would not have produced. In "Self-portrait with the portrait of Bernard", the work is dated 1888; it is kept at the Van-Gogh Museum, Amsterdam; it measures 44 x 50 cm. For "Self-portrait with the portrait of Bernard" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Self-portrait with the image portrait of Bernard", the portrait here becomes a tool of psychological construction and sometimes of personal staging; pose, background and attributes say as much as the features of the model. "Self-portrait with the portrait of Bernard" thus maintains a strong presence without depending on a spectacular anecdote; color has already largely fulfilled its contract.
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#44
Portrait of Madeleine Bernard
"Portrait of Madeleine Bernard" advances in flat areas, silhouettes and differences in proportion; the subject remains readable, but the space obeys a logic more mental than photographic; the framing transforms the ornament into structure. In "Portrait of Madeleine Bernard", the work is dated 1888; it is kept at the Grenoble museum; it measures 72 x 58 cm. For "Portrait of Madeleine Bernard" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. In "Portrait of Madeleine Bernard", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of overly hurried glances. In "Portrait of Madeleine Bernard", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of overly hurried glances. In "Portrait of Madeleine Bernard", the portrait here becomes a tool of psychological construction and sometimes staging personal; pose, background and attributes say as much as the features of the model. "Portrait of Madeleine Bernard" finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#45
Portrait of Madame Roulin
"Portrait of Madame Roulin" constructs its strangeness methodically: a silhouette, a tree, an object or a color is enough to shift the entire reading; the surface transforms the ornament into structure. In "Portrait of Madame Roulin", the work is dated 1888; it is kept at the Saint Louis Art Museum; it measures 50.5 x 63.5 cm. For "Portrait of Madame Roulin" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Portrait of Madame Roulin", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Portrait of Madame Roulin", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Portrait of Madame Roulin", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Portrait of Madame Roulin", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Portrait of Madame Roulin", the force comes less from a burst of brilliance than from a balance: enough structure to cohabitation whose walls would probably have required mediation. The singularity of "Portrait of Madame Roulin" is due to this precise organization: the image remains accessible, but it does not reveal all its logic in the first passage.
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#46
Nirvana, Portrait of Jacob Meyer de Haan
In "Nirvana, Portrait of Jacob Meyer de Haan", the depth tightens to give more weight to the general rhythm; the surface fully assumes that it is painted; the contrast transforms the ornament into structure. "Nirvana, Portrait of Jacob Meyer de Haan" is dated 1889; it measures 79.6 x 51.7 cm; it is kept at the Museum of Modern Art, New York. For "Nirvana, Portrait of Jacob Meyer de Haan" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Nirvana, Portrait of Jacob Meyer de Haan" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Nirvana, Portrait of Jacob Meyer de Haan" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Nirvana, Portrait of Jacob Meyer de Haan" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Nirvana, Portrait of Jacob Meyer de Haan" by Paul Gauguin, the balance between observation psychological and sometimes personal staging; pose, background and attributes say as much as the features of the model. "Nirvana, Portrait of Jacob Meyer de Haan" thus maintains a strong presence without depending on a spectacular anecdote; color has already largely fulfilled its contract.
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#47
Still life with three small dogs
For "Still life with three small dogs": Three puppies, fruits and domestic objects share a deliberately unstable space; the pattern transforms the ornament into structure. For this version of "Still life with three small dogs": The sizes change, the table tilts and the Gauguin watch set experimenting with the surface before the large Breton syntheses. Now kept at the Museum of Modern Art, New York, "Still life with three small dogs" is dated 1888 and measures 92 x 63 cm. For "Still life with three small dogs" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the pattern effect interchangeable, this great disease of too eager glances. In "Still Life with Three Little Dogs", still life serves as a laboratory: unstable perspective, displaced sizes and unexpected neighborhoods prepare the freedoms that Gauguin will then apply to figures and landscapes. "Still life with three small dogs" thus maintains a strong presence without depending on a spectacular anecdote; color has already largely fulfilled its contract.
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#48
Still life in Japanese print
In "Still Life with Japanese Prints", space is less described than recomposed; the gaze passes from one mass to another as in a frieze in which each interval counts; the composition transforms the ornament into a structure. Dated 1888, "Still Life with Japanese Prints" is kept in Tehran, a museum of contemporary art in Tehran and measures 73 x 93 cm. For "Still Life with Japanese Prints" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Still Life with Japanese Prints", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Still Life with Japanese Prints", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Still Life with Japanese Prints", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Still Life with Japanese Prints", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Still Life with Japanese Prints", the still life serves as a laboratory: unstable perspective, displaced sizes and unexpected neighborhoods prepare the freedoms that Gauguin will then apply to the figures and landscapes. The story of "Still Life with Japanese Print" counts as much as its harmony, because the beauty of the solid colors cancels neither the context nor the questions that the image continues to ask.
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#49
Still life in Laval profile
"Still life with the profile of Laval" advances in flat areas, silhouettes and differences in proportion; the subject remains readable, but the space obeys a logic more mental than photographic; the line prevents the image from being content to be pretty. In "Still Life with the Profile of Laval", the work is dated 1886; it is kept at the Indianapolis Museum of Art; it measures 46 x 38 cm. For "Still Life with the Profile of Laval" by Paul Gauguin, the painting does not only seek to seduce; it measures 46 x 38 cm. For "Still Life with the Profile of Laval" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Still Life with the Profile of Laval", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Still Life with the Profile of Laval", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Still Life with the Profile of Laval", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Still Life with the Profile of Laval", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Still Life with the Profile of Laval", the painting does not only seek to unexpected neighborhoods prepare the freedoms that Gauguin will then apply to figures and landscapes. "Still life with the profile of Laval" finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its production, it makes it its subject.
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#50
The Schuffenecker Family
The subject of "The Schuffenecker Family" is organized by sharp contrasts rather than small nuances; this decision gives the painting an immediate presence without exhausting it; color prevents the image from simply being pretty. Dated 1889, "The Schuffenecker Family" is kept at the Musée d'Orsay, Paris and measures 73 x 92 cm. For "The Schuffenecker Family" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Schuffenecker Family", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Schuffenecker Family", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Schuffenecker Family", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Schuffenecker Family", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Schuffenecker Family", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the increasingly autonomous color. The pleasure of "The Schuffenecker Family" comes from this double movement: an immediately recognizable image and a construction that becomes stranger the more you look at it.
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#51
His name is Vairaumati
The framing of "His name is Vairaumati" favors the relationships of shapes and tones; realism declines, but the composition gains a very visible framework; the rhythm prevents the image from being content to be pretty. "His name is Vairaumati" is kept at the Museum of Fine Arts. For "His name is Vairaumati" by Paul Gauguin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "His name is Vairaumati" by Paul Gauguin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "His name is Vairaumati" by Paul Gauguin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "His name is Vairaumati" by Paul Gauguin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "His name is Vairaumati", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "Her name is Vairaumati", each color seems sure of itself; the gaze, fortunately, can still retain the right to ask a few questions.
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#52
Merahi metua no Tehamana
"Merahi metua no Tehamana" refuses docile color; the framing prevents the image from simply being pretty. In "Merahi metua no Tehamana", the tones organize the image, impose a mood and give the subject a strength that the mere resemblance would not have produced. Now kept at the Art Institute of Chicago, "Merahi metua no Tehamana" is dated 1893 and measures 75 x 53 cm. For "Merahi metua no Tehamana" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Merahi metua no Tehamana", the dosage between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Merahi metua no Tehamana", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Merahi metua no Tehamana", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Merahi metua no Tehamana", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Merahi metua no Tehamana", the balance between observation and memory remains decisive; Paul Gau gradually gives way to flat areas, signs and an increasingly autonomous color. "Merahi metua no Tehamana" thus maintains a strong presence without depending on a spectacular anecdote; color has already largely fulfilled its contract.
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#53
Te tiare farani
In "Te tiare farani", Gauguin retains some essential elements and charges them with intensity; simplification acts as a concentration, in no way as a lack; the surface prevents the image from being content to be pretty. Today kept at the Pushkin Museum, Moscow, "Te tiare farani" is dated 1891 and measures 72 x 92 cm. For "Te tiare farani" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Te tiare farani" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Te tiare farani" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Te tiare farani" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Te tiare farani" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Te tiare farani" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance that formal admiration must not erase. "Te tiare farani" finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#54
The King's Wife
The framing of "The King's Wife" favors the relationships of shapes and tones; realism declines, but the composition gains a very visible framework; the contrast prevents the image from being content to be pretty. "The King's Wife" is kept at the Museum of Fine Arts. For "The King's Wife" by Paul Gauguin, the strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "The King's Wife", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "The King's Wife", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "The King's Wife", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "The King's Wife", each color belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "The King's Wife", each color belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "The King's Wife", each color belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "The King's Wife", each color belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs
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#55
Three Tahitians
In "Three Tahitian Women", the outline closes the shapes before color decides the atmosphere; Gauguin prefers a constructed image to light captured in flight; the motif prevents the image from being content to be pretty. "Three Tahitian Women" is kept at the Metropolitan Museum. For "Three Tahitian Women" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Three Tahitian Women", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Three Tahitian Women", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Three Tahitian Women", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Three Tahitian Women", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Three Tahitian Women", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Three Tahitian Women", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tem Tahitian", each color seems sure of itself; the eye, fortunately, can still retain the right to ask a few questions.
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#56
Three Tahitian women on a yellow background
In "Three Tahitian Women on a Yellow Background", the space is less described than recomposed; the gaze passes from one mass to another as in a frieze in which each interval counts; the composition prevents the image from being content to be pretty. Today kept at the Hermitage Museum, "Three Tahitian Women on a Yellow Background". For "Three Tahitian Women on a Yellow Background" by Paul Gauguin, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Three Tahitian Women on a Yellow Background", Paul Gauguin's "Three Tahitian Women on a Yellow Background". For "Three Tahitian Women on a Yellow Background" by Paul Gauguin, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Three Tahitian Women on a Yellow Background", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Three Tahitian Women on a Yellow Background", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Three Tahitian Women on a Yellow Background", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In colonial that formal admiration must not erase. The story of "Three Tahitian Women on a Yellow Background" counts as much as its harmony, because the beauty of the solid colors cancels neither the context nor the questions that the image continues to ask.
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#57
Tahitian with flowers
"Tahitian with the Flower" shows how Gauguin transforms observation into a sign: the shapes simplify, the contours slow down the eye and the decor ceases to be a neutral background; the line retains a very personal presence there. In "Tahitian with the Flower", the work is dated 1891; it is kept at Ny Carlsberg Glyptotek, Copenhagen; it measures 70 x 46 cm. For "Tahitian with the Flower" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Tahitian with the Flower", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Tahitian with the Flower", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Tahitian with the Flower", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Tahitian with the Flower", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Tahitian with the Flower", the composition can be read in stages: first the motif, then but produced in a colonial context that formal admiration should not erase. The story of "Tahitian with the flower" counts as much as its harmony, because the beauty of the solid colors cancels neither the context nor the questions that the image continues to ask.
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#58
What, are you jealous?
"Well, you are jealous" advances in flat areas, silhouettes and differences in proportion; the subject remains readable, but the space obeys a logic more mental than photographic; color retains a very personal presence there. Today kept at the Museum of Fine Arts, "Well, you are jealous". For "Well, you are jealous" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Well, you're jealous", the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "Well, you're jealous", the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "Well, you're jealous", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "Well, you're jealous", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and light. jalouse finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#59
The meal
With "Le Repas", Gauguin reduces transitions and reinforces masses; each colored area takes on a responsibility that the academic model would have happily kept to himself; the rhythm maintains a very personal presence there. "Le Repas" is dated 1891; it measures 72 x 91 cm; it is kept at the Musée d’Orsay, Paris. For "Le Repas" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. For "Le Repas" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. For "Le Repas" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Le Repas", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In a reproduction, "Le Repas" above all retains its rhythm of masses and colors; this is where the painting avoids becoming a simple invitation to travel.
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#60
Morning
In "Le matin", space is less described than recomposed; the gaze passes from one mass to another as in a frieze in which each interval counts; the framing maintains a very personal presence there. For "Le matin" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Le matin", the painting belongs to a trajectory where the initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Le matin", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Le matin", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Le matin", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Le matin", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Le matin", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Le matin", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. The story of "Le matin" counts as much as its harmony, because the beauty of the flat areas does not cancel out either the context or the questions that
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#61
Matamoe
"Matamoe" gives color a narrative function: it situates mood, separates shots and indicates where the gaze should hesitate a little longer; the surface retains a very personal presence there. Today kept at the Pushkin Museum, Moscow, "Matamoe" is dated 1892 and measures 115 x 86 cm. For "Matamoe" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Matamoe", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Matamoe", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Matamoe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Matamoe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Matamoe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and light. In "Matamoe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and light. In "Matamoe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and light. In "Matamoe", the painting belongs to lasting impression because it brings together visual clarity and historical ambiguity, an alliance less relaxing than a sunset, but much more interesting.
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#62
Mahana Maà
In "Mahana Maà", Gauguin retains some essential elements and charges them with intensity; simplification acts as a concentration, not a lack; the contrast retains a very personal presence. "Mahana Maà" is dated 1892; it is kept at the Cincinnati Art Museum. For "Mahana Maà" by Paul Gauguin, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "Mahana Maà" by Paul Gauguin, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "Mahana Maà", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. "Mahana Maà" shows finally, why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#63
Tahitian pastoralists
In "Tahitian Pastorales", Gauguin retains some essential elements and charges them with intensity; simplification acts as a concentration, in no way as a lack; the motif retains a very personal presence there. Today kept at the Hermitage Museum, "Tahitian Pastorales". For "Tahitian Pastorales" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Tahitian Pastorales", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Tahitian Pastorales", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that admiration formal should not erase. "Tahitian Pastorales" finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#64
Picking Fruits, or Mangoes
In "The Picking of Fruits, or With Mangoes", the depth tightens to give more weight to the general rhythm; the surface fully assumes that it is painted; the composition retains a very personal presence there. For "The Picking of Fruits, or With Mangues" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Picking of Fruits, or With Mangues", still life serves as a laboratory: unstable perspective, displaced sizes and unexpected neighborhoods prepare the freedoms that Gauguin will then apply to figures and landscapes. "The Picking of Fruits, or With Mangoes", still life serves as a laboratory: unstable perspective, displaced sizes and unexpected neighborhoods prepare the freedoms that Gauguin will then apply to figures and landscapes. "The Picking of Fruits, or With Mangoes", still life serves as a laboratory: unstable perspective, displaced sizes and unexpected neighborhoods prepare the freedoms that Gauguin will then apply to figures and landscapes. "The Picking of Fruits, or With Mangoes", still life serves as a laboratory: unstable perspective, displaced sizes and unexpected neighborhoods prepare the freedoms that Gauguin will then apply to figures and landscapes. "The Picking of Fruits, or With Mangoes", still life serves as a laboratory: it affirms a way of seeing where matter, distance and light work together. In "The Picking of Fruits, or With Mangoes", still life serves as Mangues thus maintains a strong presence without depending on a spectacular anecdote; color has already largely fulfilled its contract.
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#65
Ruperupe
In "Ruperupe", the depth tightens to give more weight to the general rhythm; the surface fully assumes that it is painted; the line leads the gaze there without rigidity. "Ruperupe" is dated 1899 and kept at the Pushkin Museum, Moscow; it measures 128 x 190 cm. For "Ruperupe" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Ruperupe", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Ruperupe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Ruperupe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "Ruperupe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "Ruperupe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "Ruperupe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "Ruperupe", the painting belongs to a trajectory where initial impressionism gradually gives
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#66
Te Fare Amu
In "Te Fare Amu", the depth tightens to give more weight to the general rhythm; the surface fully assumes that it is painted; color leads the gaze without rigidity. For "Te Fare Amu" by Paul Gauguin, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Te Fare Amu", this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Te Fare Amu", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "Te Fare Amu", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "Te Fare Amu", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. "Te Fare Amu", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. "Te Fare Amu", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. "Te Fare
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#67
The big tree
In "The Big Tree", the depth tightens to give more weight to the general rhythm; the surface fully assumes that it is painted; the rhythm leads the gaze there without rigidity. For "The Big Tree" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "The Big Tree", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "The Big Tree", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "The Big Tree", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "The big tree", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "The big tree", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "The big tree", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "The big tree", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "The big tree", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "The big tree", the painting belongs to a trajectory where initial impressionism gradually gives way to
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#68
Mysterious water
In "Mysterious Water", space is less described than recomposed; the gaze passes from one mass to another as in a frieze in which each interval counts; the framing leads the gaze there without rigidity. For "Mysterious Water" by Paul Gauguin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Mysterious Water", the painting belongs to a trajectory where the initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Mysterious Water", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Mysterious Water", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Mysterious Water", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Mysterious Water", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Mysterious Water", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Mysterious Water", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Mysterious Water", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In
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#69
Delicious water
"Delicious water" advances in flat areas, silhouettes and differences in proportion; the subject remains readable, but the space obeys a logic more mental than photographic; the surface leads the gaze without rigidity. In "Delicious Water", the work is kept at the National Gallery. For "Delicious Water" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. In "Delicious Water", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Delicious Water", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Delicious Water", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Delicious Water", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Delicious Water", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Delicious Water", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Delicious Water", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Delicious Water", this singularity counts a lot why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#70
Tahitian landscape
In "Tahitian Landscape", the line holds the shapes while the color takes some very calculated liberties; the whole seems direct, never improvised at random; the contrast leads the gaze without rigidity. In "Tahitian Landscape", the work is dated 1891; it is kept at the Minneapolis Institute of Art; it measures 68 x 92 cm. For "Tahitian Landscape" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed looks. In "Tahitian Landscape", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. In "Tahitian Landscape", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. In "Tahitian Landscape", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. In "Tahitian Landscape", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. In "Tahitian Landscape", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. In "Tahitian Landscape", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried looks. In "Tahitian Landscape", this singularity counts a lot: it avoids increasingly autonomous color. Gauguin gives "Tahitian Landscape" real decorative authority, but the painting gains especially when we observe what its forms simplify, invent or silence.
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#71
Tahitian women by the river
The rhythm of "Tahitian Women by the River" depends on repetitions, deviations and simple masses; Gauguin knows that an image can speak loudly without multiplying details; the motif leads the gaze without rigidity. For "Tahitian Women by the River" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Tahitian Women by the River", this singularity matters a lot: it avoids the interchangeable motif effect, this great disease of too eager glances. In "Tahitian Women by the River", this singularity matters a lot: it avoids the interchangeable motif effect, this great disease of too hurried looks. In "Tahitian Women by the River", this singularity matters a lot: it avoids the interchangeable motif effect, this great disease of too hurried looks. In "Tahitian Women by the River", this singularity matters a lot: it avoids the interchangeable motif effect, this great disease of too hurried looks. In "Tahitian Women by the River", this singularity matters a lot: it avoids the interchangeable motif effect, this great disease of too hurried looks. In "Tahitian Women by the River", this singularity matters a lot: it avoids the interchangeable motif effect, this great disease of too hurried looks. In "Tahitian Women by the River", this singularity matters a lot: it avoids the interchangeable motif effect, this great disease of too hurried looks tahitian by the river, the painting leaves a lasting impression because it brings together visual clarity and historical ambiguity, an alliance less relaxing than a sunset, but much more interesting.
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#72
At the foot of the mountain
The motif of "At the foot of the mountain" seems calm, yet the contours, voids and colors maintain a continuous tension under this first tranquility; the composition leads the gaze without rigidity. "At the foot of the mountain" is kept at the Hermitage Museum. For "At the foot of the mountain" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. For "At the foot of the mountain" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "At the foot of the mountain", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "At the foot of the mountain", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In a reproduction, "At the foot of the mountain" above all retains its rhythm of masses and colors; this is where the painting avoids becoming a simple invitation to travel.
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#73
In the vanilla, man and horse
The motif of "In the vanilla, man and horse" appears calm, yet the contours, voids and colors maintain a continuous tension under this first tranquility; the line gives its temperature to the whole. For "In the vanilla, man and horse" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "In the Vanilla, Man and Horse", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "In the Vanilla, Man and Horse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In a reproduction, "In the Vanilla, Man and Horse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. horse" above all retains its rhythm of masses and colors; this is where the painting avoids becoming a simple invitation to travel.
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#74
Under the Pandanus
The framing of "Sous le Pandanus" favors the relationships of shapes and tones; realism recedes, but the composition gains a very visible framework; color gives its temperature to the whole. For "Sous le Pandanus" by Paul Gauguin, the gaze finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Sous le Pandanus", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "Sous le Pandanus", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "Sous le Pandanus", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "Sous le Pandanus", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "Sous le Pandanus", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "Sous le Pandanus", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced
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#75
Near huts, or Around huts
In "Near the huts, or Around the huts", the line holds the shapes while the color takes some very calculated liberties; the whole seems direct, never improvised at random; the rhythm gives its temperature to the whole. For "Near the huts, or Around the huts" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Near the huts, or Around the huts", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Near the huts, or Around the huts", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Near the huts, or Around the huts", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Near the huts, or Around the huts", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Near the huts, or Around the huts", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Near the huts, or Around the huts", this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Near at "Near the huts, or Around the huts" a real decorative authority, but the painting gains especially when we observe what its forms simplify, invent or silence.
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#76
The Dog in Front of the Hut, or The Three Huts
The framing of "The Dog in Front of the Hut, or The Three Huts" favors the relationships of shapes and tones; realism recedes, but the composition gains a very visible framework; the framing gives its temperature to the whole. For "The Dog in Front of the Hut, or The Three Huts" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Dog in Front of the Hut, or The Three Huts" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Dog in Front of the Hut, or The Three Huts", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "The Dog in front of the hut, or The Three Huts, each color seems sure of itself; the gaze, fortunately, can still retain the right to ask a few questions.
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#77
The canoe
The framing of "La pirogue" favors the relationships of shapes and tones; realism recedes, but the composition gains a very visible framework; the surface gives its temperature to the whole. Today kept at the Hermitage Museum, "La pirogue". For "La pirogue" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "The Canoe", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "The Canoe", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "The Canoe", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "The Canoe", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "The Canoe", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. In "The Canoe", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in
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#78
Three Tahitians, or Conversation
The composition of "Three Tahitians, or Conversation" transforms a place, a figure or an object into an emblem; painting simplifies to better make the image last in memory; the contrast gives its temperature to the whole. For "Three Tahitians, or Conversation" by Paul Gauguin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Three Tahitians, or Conversation", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, to signs and to an increasingly autonomous color. In "Three Tahitians, or Conversation", the painting belongs to a trajectory where initial impressionism gradually gives way to solid colors, signs and an increasingly autonomous color. In "Three Tahitians, or Conversation", the painting belongs to a trajectory where initial impressionism gradually gives way to solid colors, signs and an increasingly autonomous color. In "Three Tahitians, or Conversation", the painting belongs to a trajectory where initial impressionism gradually gives way to solid colors, signs and an increasingly autonomous color. In "Three Tahitians, or Conversation", the painting belongs to a trajectory where initial impressionism gradually gives way to solid colors, signs and an increasingly autonomous color. In "Three Tahitians, or Conversation", the painting belongs to a trajectory where initial impressionism gradually gives way to solid colors, signs and an increasingly autonomous color. In "Three Tahitians, or Conversation", the painting belongs to double movement: an instantly recognizable image and a construction that becomes stranger the more you look at it.
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#79
The whispered words
In "The Whispered Words", Gauguin retains some essential elements and charges them with intensity; simplification acts as a concentration, in no way as a lack; the motif gives its temperature to the whole. For "The Whispered Words" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "The Whispered Words", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "The Whispered Words", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "The Whispered Words", the painting belongs to a trajectory where initial impressionism gradually gives way to solid areas, signs and an increasingly autonomous color. In "The Whispered Words", the painting belongs to a trajectory where initial impressionism gradually gives way to solid areas, signs and an increasingly autonomous color. In "The Whispered Words", the painting belongs to a trajectory where initial impressionism gradually gives way to solid areas, signs and an increasingly autonomous color. In "The Whispered Words", the painting belongs to a trajectory where initial impressionism gradually gives way to solid areas, signs and an increasingly autonomous color. "The whispered words", the painting belongs to a trajectory where initial impressionism gradually gives way to solid areas, signs and an increasingly autonomous color. "The whispered words", the painting belongs to a trajectory where initial impressionism gradually gives way to solid areas, signs and an increasingly
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#80
What news?
The subject of "What News" is organized by sharp contrasts rather than small nuances; this decision gives the painting an immediate presence without exhausting it; the composition gives its temperature to the whole. For "What News" by Paul Gauguin, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "What News", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "What News", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "What News", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "What News", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. The pleasure of "What News" comes from this double movement: an immediately recognizable image and a construction that becomes stranger as we look at it.
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#81
Why are you angry?
"Why are you angry" advances in flat areas, silhouettes and differences in proportion; the subject remains readable, but the space obeys a logic more mental than photographic; the line usefully delays the first reading. "Why are you angry" is kept at the Art Institute of Chicago. For "Why are you angry" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. In "Why are you angry", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. In "Why are you angry", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. In "Why are you angry", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. In "Why are you angry", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. In "Why are you angry", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. In "Why are you angry", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. In "Why are you angry", this singularity counts a lot: it avoids the interchangeable pattern effect, this great illness of too eager glances. In "Why are you angry", this singularity counts a lot: it avoids the interchange are you angry finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#82
Alone
In "Alone", the line holds the shapes while the color takes some very calculated liberties; the whole seems direct, never improvised at random; color usefully delays the first reading. For "Alone" by Paul Gauguin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. In "Alone", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Alone", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Alone", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Alone", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Alone", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Alone", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Alone", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Alone", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Alone", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas
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#83
The Muddy
The rhythm of "La Boudeuse" depends on repetitions, deviations and simple masses; Gauguin knows that an image can speak loudly without multiplying details; the rhythm usefully delays the first reading. For "La Boudeuse" by Paul Gauguin, the painting not only seeks to seduce; it affirms a way of seeing where matter, distance and light work together. In "La Boudeuse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Boudeuse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Boudeuse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Boudeuse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Boudeuse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Boudeuse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Boudeuse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Boudeuse", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "La Boudeuse", the painting belongs to
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#84
The Nap
"La Sieste" constructs its strangeness methodically: a silhouette, a tree, an object or a color is enough to shift the entire reading; the framing usefully delays the first reading. Today kept at the Metropolitan Museum, New York, "La Sieste" is dated 1892-1894 and measures 79 x 91 cm. For "La Sieste" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Sieste", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Sieste", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Sieste", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Sieste", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. this precise organization is due to: the image remains accessible, but it does not deliver all its logic to the first passage.
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#85
Upa upa, The Dance of Fire
"Upa upa, The Dance of Fire" brings the shots together and slows down the transitions so that the subject exists as a frontal presence, almost sculpted by color; the surface usefully delays the first reading. For "Upa upa, The Dance of Fire" by Paul Gauguin, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Upa upa, The Dance of Fire", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Upa upa, The Dance of Fire", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Upa upa, The Dance of Fire", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Upa upa, The Dance of Fire", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "Upa upa, The Dance of Fire", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "Upa upa, The Dance of Fire", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. "Upa upa, The Dance of Fire", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly
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#86
Arearea no varua ino
In "Arearea no varua ino", Gauguin retains some essential elements and charges them with intensity; simplification acts as a concentration, in no way as a lack; the contrast usefully delays the first reading. "Arearea no varua ino" is dated 1892 and kept at the Musée d'Orsay, Paris; it measures 74.5 x 93.5 cm. For "Arearea no varua ino" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Arearea no varua ino" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Arearea no varua ino", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Arearea no varua ino", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Arearea no varua ino", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Arearea no varua ino", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Arearea no varua ino", the painting belongs to a more autonomous. "Arearea no varua ino" finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#87
Parau na te varua ino
The framing of "Parau na te varua ino" favors the relationships of shapes and tones; realism declines, but the composition gains a very visible framework; the motif usefully delays the first reading. Today kept at the National Gallery of Art, Washington, "Parau na te varua ino" is dated 1892 and measures 92 x 68 cm. For "Parau na te varua ino" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Parau na te varua ino", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Parau na te varua ino", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Parau na te varua ino", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Parau na te varua ino", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Parau na te varua ino", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Parau colonial context that formal admiration must not erase. In "Parau na te varua ino", each color seems sure of itself; the gaze, fortunately, can still retain the right to ask a few questions.
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#88
Nave nave moe
The framing of "Nef nef moe" favors the relationships of shapes and tones; realism recedes, but the composition gains a very visible framework; the composition usefully delays the first reading. For "Nef nef moe" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Nef nef moe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Nef nef moe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Nef nef moe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Nef nef moe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Nef nef moe", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Nef nef moe", each color appears confident; the gaze, fortunately, can still retain the right to ask a few questions.
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#89
Te Bourao II
In "Te Bourao II", space is less described than recomposed; the gaze passes from one mass to another as in a frieze in which each interval counts; the line maintains a clear decorative tension there. "Te Bourao II" is dated 1897-1898 and kept in the Private collection. For "Te Bourao II" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Te Bourao II" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Te Bourao II", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Te Bourao II", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Te Bourao II", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Te Bourao II", the subject belongs to Gauguin's Polynesian universe, a set of major images for modern art but produced in a colonial context that formal admiration should not erase. The story of "Te Bourao II" "counts as much as its harmony, because the beauty of the solid colors cancels neither the context nor the questions that the image continues to ask.
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#90
Barbarian poems
"Barbarian Poems" shows how Gauguin transforms observation into a sign: the shapes simplify, the contours slow down the eye and the decor ceases to be a neutral background; the color maintains a clear decorative tension there. "Barbarian Poems" is dated 1896; it measures 65 x 48 cm; it is kept at the Fogg Art Museum, Cambridge. For "Barbarian Poems" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Barbarian Poems", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and a increasingly autonomous color. The story of "Barbarian Poems" counts as much as its harmony, because the beauty of the solid colors cancels neither the context nor the questions that the image continues to ask.
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#91
The Wizard of Hiva-Oa
"The Sorcerer of Hiva-Oa" brings the shots together and slows down the transitions so that the subject exists as a frontal presence, almost sculpted by color; rhythm maintains a clear decorative tension there. In "The Sorcerer of Hiva-Oa", the work is dated 1902; it is kept at the Liège Museum of Fine Arts; it measures 91 x 73 cm. For "The Sorcerer of Hiva-Oa" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Sorcerer of Hiva-Oa" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Sorcerer of Hiva-Oa" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Sorcerer of Hiva-Oa" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Sorcerer of Hiva-Oa", the composition can be read in stages: first the motif, then the masses, then the passages of light colonial that formal admiration must not erase. "The Sorcerer of Hiva-Oa" is therefore neither limited to his exoticism nor his palette; its strength comes from the very calculated relationship between surface, symbol and point of view.
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#92
Riders on the beach (I)
The first look at "Riders on the Beach (I)" encounters a concrete pattern, then the colors quickly move the scene towards memory, symbol or invention; the framing maintains a clear decorative tension there. "Riders on the Beach (I)" is dated 1902 and kept at the Folkwang Museum, Germany; it measures 65.5 x 76 cm. For "Riders on the Beach (I)" by Paul Gauguin, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Riders on the Beach (I)", the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Riders on the Beach (I)", the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Riders on the Beach (I)", the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Riders on the Beach (I)", the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Riders on the Beach (I)", the composition can be read in stages: first the pattern an increasingly autonomous color. The singularity of "Riders on the Beach (I)" is due to this precise organization: the image remains accessible, but it does not deliver all its logic on the first pass.
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#93
Tropical vegetation, Martinique
"Tropical Vegetation, Martinique" shows how Gauguin transforms observation into a sign: the shapes simplify, the contours slow down the eye and the decor ceases to be a neutral background; the surface maintains a clear decorative tension there. Dated 1888, "Végétation tropical, Martinique" is kept at the National Gallery of Scotland, Edinburgh. For "Végétation tropical, Martinique" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, Martinique" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Végétation tropical, Martinique", the painting belongs to a trajectory where initial impressionism gives way gradually the place for solid colors, signs and an increasingly autonomous color. The story of "Tropical Vegetation, Martinique" counts as much as its harmony, because the beauty of the solid colors cancels neither the context nor the questions that the image continues to ask.
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#94
Fruit carriers at Anse Turin, or Bord de mer II
In "Fruit Carriers at Turin Cove, or Seaside II", space is less described than recomposed; the gaze passes from one mass to another as in a frieze in which each interval counts; the contrast maintains a clear decorative tension. For "Fruit Carriers at Turin Cove, or Seaside II" by Paul Gauguin, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Fruit Carriers at Turin Cove, or Seaside II" by Paul Gauguin, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Fruit Carriers at Turin Cove, or Seaside II" by Paul Gauguin, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Fruit Carriers at Turin Cove, or Seaside II" by Paul Gauguin, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Fruit Carriers at Turin Cove, or Seaside II", the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Fruit Carriers at Turin Cove, or Seas and to the landscapes. The story of "Fruit Carriers at Turin Cove, or Seaside II" counts as much as its harmony, because the beauty of the solid colors cancels neither the context nor the questions that the image continues to ask.
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#95
Rivers under the trees, Martinique
The framing of "Rivers under the trees, Martinique" favors the relationships of shapes and tones; realism declines, but the composition gains a very visible framework; the motif maintains a clear decorative tension. For "Rivers under the trees, Martinique" by Paul Gauguin, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Rivers under the trees, Martinique", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Rivers under the trees, Martinique", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, to signs and to an increasingly autonomous color. In "Rivers under the trees, Martinique", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, to signs and to an increasingly autonomous color. Martinique", each color seems sure of itself; the eye, fortunately, can still retain the right to ask a few questions.
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#96
The harbor of Saint-Pierre seen from Anse Turin
The motif of "The Harbor of Saint-Pierre seen from the cove Turin" appears calm, yet the contours, voids and colors maintain a continuous tension under this first tranquility; the composition maintains a clear decorative tension there. For "The Harbor of Saint-Pierre seen from the cove Turin" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Harbor of Saint-Pierre seen from the cove Turin" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "The Harbor of Saint-Pierre seen from the cove Turin", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In a reproduction, "The Harbor from Saint-Pierre seen from Anse Turin" above all retains its rhythm of masses and colors; this is where the painting avoids becoming a simple invitation to travel.
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#97
Martinican meadow
The framing of "Prairie Martinicaise" favors the relationships of shapes and tones; realism recedes, but the composition gains a very visible framework; the line organizes the details without stifling them. For "Prairie Martinicaise" by Paul Gauguin, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Prairie Martinicaise", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Prairie Martinicaise", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Prairie Martinicaise", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Prairie Martinicaise", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Prairie Martinicaise", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Prairie Martinicaise", the painting belongs to a trajectory where initial impressionism gradually gives way to flat areas, signs and an increasingly autonomous color. In "Prairie Martinicaise", each color seems sure of itself; the look, fortunately, can still retain the right to ask a few questions.
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#98
Self-portrait near Golgotha
In "Self-portrait near Golgotha", Gauguin retains some essential elements and charges them with intensity; simplification acts as a concentration, not a lack; color organizes details without stifling them. Today kept at the Museu de Arte de Sao Paulo, "Self-portrait near Golgotha" is dated 1896 and measures 75.5 x 63 cm. For "Self-portrait near Golgotha" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Self-portrait near Golgotha" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Self-portrait near Golgotha" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Self-portrait near Golgotha" by Paul Gauguin, the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Self-portrait near Golgotha", the painting does not only seek to seduce; it affirms a way of seeing where matter, distance and light work together. In "Self-portrait near Golgotha", the painting does not pose, background and attributes say as much as the features of the model. "Self-portrait near Golgotha" finally shows why Gauguin influences the Nabis, the wild animals and several modern generations: the surface no longer hides its manufacture, it makes it its subject.
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#99
Self-portrait with palette
"Self-portrait with palette" refuses docile color; rhythm organizes details without stifling them. In "Self-portrait with palette", the tones organize the image, impose a mood and give the subject a strength that the mere resemblance would not have produced. Dated 1894, "Self-portrait with palette" is kept in the Private Collection and measures 92 x 73 cm. For "Self-portrait with palette" by Paul Gauguin, the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Self-portrait with palette", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Self-portrait with palette", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Self-portrait with palette", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Self-portrait with palette", the balance between observation and memory remains decisive; Paul Gauguin adjusts the distance until presence and memory are held in the same surface. In "Self-portrait with palette", the portrait here becomes a tool of psychological construction and sometimes implementation personal scene; pose, background and attributes say as much as the features of the model. "Self-portrait with palette" thus maintains a strong presence without depending on a spectacular anecdote; color has already largely fulfilled its contract.
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#100
Self-portrait with idol
The composition of "Self-portrait with an idol" transforms a place, a figure or an object into an emblem; painting simplifies to make the image last in memory; the framing organizes the details without stifling them. Dated around 1893, "Self-portrait with an idol" is kept at the McNay Art Museum and measures 43.8 x 32.7 cm. For "Self-portrait with an idol" by Paul Gauguin, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with an idol", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with an idol", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with an idol", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with an idol", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with an idol", the composition can be read in stages: features of the model. The pleasure of "Self-portrait with the idol" comes from this double movement: an immediately recognizable image and a construction that becomes stranger the more you look at it.
Discover →What the ranking reveals
One hundred paintings, three tensions which make Gauguin impossible to summarize
The journey reveals a painter who constantly seeks to transform the visible: the impression becomes a sign, the landscape becomes a memory and the figure becomes a symbol. This formal invention remains decisive, but it also accompanies a creation of elsewhere and of oneself. The colors are frank; reading benefits from not being naive.
Color structures before describing
Red, yellow, purple or green distribute space and emotion without asking permission from the actual weather.
The title opens a second scene
Breton, French or Tahitian words add story, enigma and sometimes an invented mythology to what the canvas shows.
The context modifies the outlook
Borrowed sources, colonization and biography of the artist change the way of reading figures without canceling out the pictorial force.
Chronology between ports and myths
Five dates to follow Gauguin
Eugène Henri Paul Gauguin was born on June 7; his childhood in Peru would later contribute to the construction of his identity as a traveling artist.
After several years as a stockbroker and amateur painter, he devoted himself entirely to art despite a difficult family and financial situation.
The Vision after the sermon and the exchanges with Émile Bernard affirm the synthesis before the eventful stay with Van Gogh in Arles.
Gauguin settled in a French colony and produced images that mixed observation, Polynesian sources, Christianity and European projections.
He died in Hiva Oa after a final period of paintings, writings and conflicts with the colonial administration.
Gauguin in depth
Gauguin: inventing a modern language without confusing elsewhere and truth
Gauguin begins in the vicinity of impressionism, then moves away from it to seek a more constructed, more synthetic and more symbolic painting. Instead of describing each transition of light, it simplifies shapes, surrounds silhouettes and gives colors a new autonomy. The Vision after the sermon summarizes this shift: red does not imitate Breton soil, it makes a mental image visible.
Brittany is a decisive laboratory. Pont-Aven, Le Pouldu, the Bretons, the calvaries, the trees and the paths become the materials of a painting which mixes observation, popular religion, Japanese prints and personal invention. The Yellow Christ, La Belle Angèle and the self-portraits of this period show an artist who creates his image as carefully as his flat areas.
Arles and the difficult dialogue with Van Gogh occupy a short but intense place. The Alyscamps, Café in Arles, the Arlesiennes and Vincent van Gogh painting sunflowers not only tell the story of a famous meeting: they show two artists who each seek an expressive color, with temperaments too busy to share the same cuisine for long.
In Tahiti then in the Marquesas, Gauguin constructed the images that most marked his posterity. Ia Orana Maria, Femmes de Tahiti, Manao tupapau, Te aa no areois, The White Horse or Where do we come from? mix observed motifs, invented stories, Christian references, Polynesian sources and European projection. Their pictorial power is immense; their colonial outlook and the artist's living conditions must also be clearly named.
This double reading does not diminish the paintings. It makes them more precise. The flat areas, rhythms, hieratic figures and colors remain major in the history of modernity, but they do not float outside the world. Looking at Gauguin today means holding together formal invention, desire for that matter, construction of personal myth and power relations. The frame can be golden; reflection is not obliged to be.
The classification opens with the most recognized masterpieces, then follows the major groups of the work: Brittany and Arles, first tropical stays, Tahitian mythologies, portraits, self-portraits, landscapes and still lifes. Each painting must bring a real difference in subject, period or visual solution. One hundred images, yes; one hundred copies of the same paragraph in pareo, certainly not.
Four reading keys
Look at the color without swallowing the whole legend
Flat, outline, source and point of view allow Gauguin to be read beyond the decorative shock. His paintings construct very coherent worlds; this coherence does not exempt them from history, nor contradictions, nor from a perfectly awakened spectator.
Compare color areas
Large areas bring the shots closer together, set the rhythm and often replace traditional modeling.
Follow the silhouettes
A dark line separates, connects or monumentalizes shapes such as in cloisonné and certain Japanese prints.
Identify loans
Christian iconography, photography, ancient relief, Polynesian art and personal memory meet in recomposed images.
Question elsewhere
What seems observed can also be dreamed, simplified or projected by a European artist placed in a colonial context.
Atlas of verifiable images
Continue after the last bold color
Musée d'Orsay, Metropolitan Museum, MFA Boston, MoMA, National Galleries of Scotland, Courtauld, Wikipedia and Wikidata allow you to check dates, collections, sources and context. Elsewhere can remain complex; references do not need to play mirage.
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01Paul GauguinThe masters of Paul Gauguin02Paul GauguinCollections & guides03All reproductions of paintingsCollections & guidesMuseums and references
01Wikipedia - art and context for Paul GauguinMuseum & reference02Wikidata - visual arts for Paul GauguinMuseum & reference03Wikimedia Commons - art for Paul GauguinMuseum & reference04The Met - Heilbrunn Timeline of Art HistoryMuseum & reference05Tate - Art termsMuseum & reference06Musée d'Orsay - collectionsMuseum & referenceFrequently asked questions
Gauguin without automatic paradise
The essential answers to understanding synthetism, Pont-Aven, Tahiti, self-portraits, visual sources and the colonial reading of major works.
What is Paul Gauguin's most famous painting?
Where do we come from? What are we? Where are we going? is often considered his pictorial testament. The Vision after the Sermon, The Yellow Christ, Manao tupapau, Ia Orana Maria and When are you getting married? are also among his most famous images.
Why is The Vision after the Sermon so important?
Because it breaks with the impressionist description. The red floor, the contours and the separation between Breton women and the biblical scene show a mental, synthetic and symbolic painting.
What is synthetism in Gauguin?
Synthetism simplifies shapes, reinforces contours, and uses color to express an idea or emotion rather than just to reproduce observed light.
Why should we talk about the colonial context?
Because Tahitian images were produced in a French colony and often reflect the outlook, fantasies and position of power of a European artist. This story is part of their current reading.
Did Gauguin even paint Tahiti?
No. He painted Paris, Copenhagen, Brittany, Arles, Martinique, Tahiti and the Marquesas, as well as numerous portraits, self-portraits and still lifes.
What connection exists between Gauguin and Van Gogh?
They worked together in Arles in 1888 and shared the ambition of an expressive color. Their cohabitation ends badly, but their dialogue profoundly marks the history of post-impressionism.
Which Gauguin reproduction to choose for an interior?
For an instantly recognizable image, choose The Yellow Christ, Ia Orana Maria or The White Horse. For more mystery, Manao tupapau, Hina Tefatou or Nevermore give a darker and more symbolic presence.
Why do Gauguin's colors look so modern?
Because they directly organize space and emotion. Red, yellow, purple or green do not just describe the motif: they give the painting its rhythm and inner logic.
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