A Gauguin painting has reportedly been sold by a Swiss family foundation to a group of state museums in Qatar for nearly $300 million, a record sum for a single work of art.
Gauguin Painting Sells for Record Sum of $300 Million
A colorful painting of two Tahitian women by Paul Gauguin has reportedly...
WSJ.COM|由 KELLY CROW 上傳
The Metropolitan Museum of Art, New York
“Paper Chase: Two Decades of Collecting Drawings and Prints” pays tribute to the esteemed connoisseur and brilliant curator George R. Goldner, Drue Heinz Chairman of the Department of Drawings and Prints since 1993, who will be stepping down in early 2015.http://met.org/1zhBe0A
Paul Gauguin (French, 1848–1903) | The Artist's Portfolio, Pont Aven | 1894
Musée d'Orsay (officiel)
[Vendredi soir / Friday evening]
Nous vous souhaitons à tous un bon week-end avec "Arearea" de Gauguin !
We wish you all a nice week-end with "Arearea" by Gauguin !
Paul Gauguin, Arearea dit aussi Joyeusetés (1892)
75 x 94 cm
Paris, musée d'Orsay, legs de M.et Mme Lung, 1961
© Musée d'Orsay, dist. RMN-Grand Palais / Patrice Schmidt
Государственный Эрмитаж. The State Hermitage museum. Official page.
7 июня 1848 года родился французский художник, представитель постимпрессионизма Поль Гоген
French Post-Impressionist painter Paul Gauguin was born on this day in 1848
Поль Гоген | Подсолнечники | Холст, масло. 73x92 см | 1901
Paul Gauguin | Sunflowers | Oil on canvas. 73x92 cm | 1901
高更傳 by CHARLES Gorham ，台北:幼獅 ，1975
Gold of Their Bodies, first published in 1955, is a fascinating biography of Paul Gauguin (1848-1903), the French post-impressionist artist most famous for his colorful paintings of life in Tahiti and the South Pacific (the book's title refers to the name of one of his South Pacific paintings). Although fictionalized by the addition of dialogue, Gold of Their Bodies draws from Gauguin's own writings and other biographies to accurately portray the adult life of Gauguin: his continual struggle to make a living from his art, his friendships with Van Gogh, Cezanne, Pissaro, and other artists, his travels and life with the native peoples of the South Pacific, his relationships with Polynesian women, and his run-ins with French colonial authorities. Gauguin, prolific in his output (in large part due to the small price he received for his works), but troubled by poor health in his later life, died at the relatively young age of 54 in the Marquesas Islands of French Polynesia. It was not until after his death that his works were recognized as masterpieces, and would eventually become appreciated, admired, and incredibly valuable (for example in February 2015, one of his Tahitian paintings sold for the staggering price of $300 million dollars).
Gauguin's intimate journals - Google 圖書結果
Paul Gauguin - 1997 - Art - 160 頁
Revealing documents, reprinted from rare, limited edition, throw much light on the painter's inner life, his tumultuous relationship with van Gogh, evaluations ...
我手頭有一本 翻譯本 "此前此後" (北京:新星 2006) ，效果很差 (刪到所有的"插圖)。書內有作者剪的文憑論文， 竟然沒用不同字體排版) 翻譯問題也相當多。 譬如說 "歷史是許多日期....) 翻譯成"歷史是一個日期" 等等。
Noa Noa: The Tahiti Journal of Paul Gauguin 高更第一次 大溪地之旅
Noa Noa: The Travel Journal of Paul Gauguin
諾阿 諾阿 (意為"芳香) 成都:四川美術 1987
“Yes, indeed, the savages have taught many things to the man of an old civilization; these ignorant men have taught him much in the art of living and happiness. Above all, they have taught me to know myself better; they have told me the deepest truth. Was this thy secret, thou mysterious world? Oh mysterious world of all light, thou hast made a light shine within me, and I have grown in admiration of thy antique beauty, which is the immemorial youth of nature. I have become better for having understood and having loved thy human soul— a flower which has ceased to bloom and whose fragrance no one henceforth will breathe.”
Paul Gauguin, Noa Noa
The passage above comes from the end of Paul Gauguin’s travel journal in Tahiti entitled Noa Noa. Literally meaning “fragrant, fragrant”, the phrase noa noa is introduced to the reader at the end of the opening chapter when Gauguin describes the intoxicating scent of the Tahitian women upon his arrival. “A mingled perfume,” he writes, “half animal, half vegetable emanated from them; the perfume of their blood and of the gardenias— tiaré— which all wore in their hair. ‘Téiné merahi noa noa (now very fragrant),’ [the women] said.” (Gauguin 8).
During his first visit to Tahiti (1891-3), Gauguin documented his experiences on this two-year journey from beginning to end, even starting with his initial disappointment at the overwhelming presence of French civilization in Polynesia. Upon viewing the queen of the island at her husband’s funeral, however, Gauguin is taken by her “Maori charm” (Gauguin 6) marking the beginning of his passionate love affair with Tahiti. Gauguin not only recorded his personal encounters with the land, the people, and specifically the women, but he also made his journal a sort of anthropological report: providing first-hand accounts of their customs, religious beliefs and cultural history. In one section, Gauguin even discusses Tahitian astronomy, listing mythical histories behind the names of the stars, and the Polynesian version of Genesis, even complete with detailed accounts of whom originally begat who, as is provided in the Old Testament of the Bible.
While it is important to remember that Noa Noa is a journal and lacks the objectivity needed for a truly comprehensive and factual account of nineteenth century Tahiti, this bias gives us a personal window into what Gauguin saw through his eyes. The juxtaposition of sketches mixed with his own words allowed Gauguin to provide us with the Tahiti that he wanted to share with the world. One of the most interesting artistic elements of his original manuscript was his series of ten woodcuts that he intended to publish as a part of the journal. Drawn to the “primitive” techniques and materials used in this artform, Gauguin even used unsophisticated tools to achieve a new, less traditional print (Chapman, GroveArt.com). Unfortunately, as Noa Noa was considered “a bit much for stuffy 1900 Europe” (Gauguin ix), Gauguin had to publish the journal himself and omit the woodcuts. In newer versions of Noa Noa, however, the woodcuts have been included alongside his words and several of his original sketches.
In all, perhaps the most valuable thing to come out of Gauguin’s accounts in Noa Noa is an intimate look into the motive behind many of his great works of art. Frequent themes in the journal are also found throughout his works such as Polynesian mythical culture, Tahitian women, androgynous figures, sexual freedom, and the beauty of this Paradise on Earth. In the spirit of a true artist, Gauguin even has his journal come full circle as he ends the book with the flower that his wife once wore behind her ear, now wilted on her knee, a symbol of the end of a journey that opened with an introduction to the flowered, fragrant women observed at the start, who would eventually become the inspiration for such an important period in his life and career.