Gauguin :: Essays Papers

GauguinGauguin was born in Paris on June 7, 1848, into a liberal middle-class family. After an sporting early life, including a four-year stay in Peru with his family and a stint in the French merchant marine, he became a successful Parisian stockbroker, subsidence into a comfortable bourgeois existence with his wife and five children. In 1874, after meeting the artist Camille Pissarro and viewing the first Impressionist exhibition, he became a collector and amateur painter. He exhibited with the Impressionists in 1879, 1880, 1881, 1882, and 1886. In 1883 he gave up his secure existence to devote himself to painting his wife and children, without becoming subsistence, were forced to return to her family. From 1886 to 1891 Gauguin lived mainly in rural Brittany (except for a move around to Panama and Martinique from 1887 to 1888), where he was the centre of a small group of observational painters known as the School of Pont-Aven. Under the influence of the painter naut mi Bernar d, Gauguin turned away from Impressionism and adopted a less naturalistic style, which he called Synthetism. He found his inspiration in the art of indigenous peoples, in medieval stained glass, and in Japanese prints he was introduced to Japanese prints by Vincent van Gogh when they spent two months together in Arles, in the South of France, in 1888. Gauguins new style was characterized by the use of long flat areas of non-naturalistic colour, as in The Yellow Christ (1889, Albright-Knox Art Gallery, Buffalo, wise York State). In 1891, ruined and in debt, Gauguin sailed for the South Seas to escape European purification and everything that is artificial and conventional. Except for one visit to France from 1893 to 1895, he remained in the Tropics for the rest of his life, first in Tahiti and later in the Marquesas Islands. The demand characteristics of his style changed little in the South Seas he retained the qualities of communicative colour, denial of perspective, and thick , flat forms. Under the influence of the tropical setting and destination of Polynesia, however, Gauguins paintings became more powerful, while his subject-matter became more distinctive, the scale of his paintings larger, and his compositions more simplified. His subjects ranged from scenes of ordinary life, such(prenominal) as Tahitian Women, or On the Beach (1891, Muse dOrsay, Paris), to brooding scenes of superstitious dread, such as Spirit of the Dead reflection (1892, Albright-Knox Art Gallery).