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Paul Gauguin Kunstakademiets Bibliotek 300000363913 f o r e n i n g e n f r a n s k k u n s t PAUL GAUGUIN HANS ARBEJDER I SKANDINAVISK EJE UDSTILLET I GLYPTOTHEKET APRIL—MAJ 1926 SYVENDE UDSTILLING FORENINGEN FRANSK KUNST B ---------------------------------------------------------------- PAUL GAUGUIN HANS ARBEJDER I SKANDINAVISK EJE UDSTILLET I GLYPTOTHEKET APRIL—MAJ 1926 SYVENDE UDSTILLING s y / f / Katalogens opgaver over billeder i dansk eie skjldes hr. museumsinspektør L eo S w a n e . O slo 19 2 6 Kirstes Boktr_ykkeri DET KONGELIGE KUNSTAKADEMIS BIBLIOTEK PAUL GAUGUIN F . P A R I S 1 8 4 8 . D. MARQUESAS 1903. ~V Tærværende utstilling er en sjelden anledning til å se så meget av Gauguins kunst samlet. 1 Paris er der muligens spredte ting at se i vanske­ lig tilgjængelige privatsamlinger, men Gauguin er ikke representert i Louvre og meget beskedent i Luxembourg. En del av hans mest kjendte billeder lindes i tyske samlinger, men de fleste er havnet i Rusland. Selvsagt gir ikke et så tilfeldig utvalg som det her foreliggende den rette forestilling om Gauguins vidtomspændende begavelse. Han var foruten å være maler også en fremtrædende grafiker, skulptør i tre og keramiker. Men utstillingens 76 nummere fra de forskjellige perioder av hans liv gir allikevel en anelse om den store og eiendommelige kunstner det merkelige menneske — Paul Gauguin. «L’æuvre d'un homme, C'est FexpliCation de eet homme» sier han selv. Sikkert er det at man gjen- nem det lille utvalg av hans arbeider føler sig inn i en tragisk og mCrkelig skjebne. Et motsetningsrikt temperament, en rik fantasi forenet med en klar reflekterende intelligens. En steil og stolt natur som 4 måtte gå sin egen vei, koste hvad det koste vilde. — Det kostet tilslut alt — helbred, økonomisk be­ tryggelse, venner, hjem og barn. Der hviler en dyster tragik over hans død i ensomhet og upåagtethet på Marquesas — utarmet, nedbrutt, forlatt og ulykkelig tilsinds uten den vir­ kelige anerkjendelse han higet efter. Gauguin er føtt i 1848, revolusjonsåret, og selv blev han en rebel både i sitt liv og i sin kunst. Hans liv blandt de innfødte på Tahiti var ikke bare en kunstnerisk søken, men også en protest mot det siviliserte samfunds fordomme og hykleri. Hans forsvar for maorierne mot de franske embedsmenn og missionærer var et samlet menneske- og kunst- nersinns oprør mot den rase og det samfund han tilhørte. Hans kunst står i rakt motsetningsforhold til samtidens. Endnu før impressjonismen hadde nådd den fulle anerkjennelse, reagerte Gauguin mot objek­ tets og teknikkens prevalens i maleriet, idet han hævdet det subjektive syn, hvor objektet (naturen) bare er et påskudd til å gi uttryk for kunstnerens personlighet, mens teknikken må være den under­ ordnede villige tjener for hver ny tanke. Tvertimot den gjældende opfatning, båret av så geniale mestre som hans store samtidige Degas, Manet, Cézanne m. fl. hvis kunst han beundret, kjemper han for sin egen idé, bryter vei for sit eget personlige uttryk — individualist som han er. Pissaro, impressjonistenes senior f. i 838 ledet Gauguins første forsøk som amatørmaler, dengang han som fondsChef i Berlins bankfirma syslet med pensel og palet i sin fritid. Flere av utstillingens billeder er fra denne tid (se kat, nr. 24, 64 o. fl.). «Den nakne syerske på sengkanten» kat. nr. 2 synes å ha været avgiørende for hans skjebne. 1 allfald er det efter dette billedes utstilling på salon des Indépendents 1881 at han bryter ut av sitt borgerlige liv og biir maler. Der går nogen år inden han finder sin person­ lige form. Til å begynne med er han sterkt optatt av impressjonistenes farvedekomponerende teknikk, kat. nr. 6. Men allerede i 88—89 efter opholdet i Bretagne og på Martinique aner man et gjennem- brudd, en enklere og klarere form henimot det deko­ rative, som i landskapene kat. nr, 11 , 56, 65, j 7> o.fl. hvor Gauguins typiske kolorit avstemt på gvdt, orange og blått gjør sig gjeldende. Men det er først under hans Tahitiophold i 10- året 1891 —1901, avbrutt av et kortere ophold i Frankrike i 94, at hans talents egenart helt ut- lolder sig. H er skaper han de verker som med sin storladne dekorative holdning og sit linjespils melo­ diske ynde gir mesteren rang blandt århundredets store som en av de banebrytende inden moderne maleri. 1 Tahitis eventyrskjønne natur blandt primitive mennesker av en edel rase finder han den enkle. rene kunstneriske form han søker. Endelig kan han begynne på bar bunn, uhindret av kunstneriske dog­ mer. Fjernt fra det græske skjønhetsideal, som han mente behersket al europeisk kunst, skaper han sig et nytt av en egen barbarisk ynde, inspirert av de slanke smidige maoripiker, hvis brungyldne lege­ mer står så dristig mot de dype blå og grønne toner i Gauguins Tahltilandskaper. Om utstillingens store dekorative komposisjon D ’ou venons nous qui sommes nous, ou allons nous (kat. nr. 67) — mesterens hovedverk — skriver Gau­ guin til sin ven Daniel de Monfreid i 98 « . Jeg tror imidlertid at dette billede ikke blot i verdi overgår alle tidligere, men endog at jeg aldri kom­ mer til å gjøre hverken bedre eller lignende. Jeg har i det — før jeg døde — villet legge hele min energi — en slik smertelig lidenskap 1 fryktelige omstendigheter og en synskhet så klar uten rettel­ ser, at det hastige forsvinder og livet kommer til­ syne deri.» Billedet, som er datert 1897, er blit til, efterat Gauguin — svekket av et lengere sykeleie, og uten eksistensmidler beslutter frivillig å ende sit liv. Men endnu engang seirer hans sterke konstitu- sjon og ukuelige energi. Nye utveier åpner sig. Han når inden han dør å tilbringe to år på Domi- nique, — Marquesasøene — sine drømmes land. E l i I n g e b r e t s e n . Nr. 1. Selvportrett, 1892 (?) a l’ami Daniel P. Gauguin Fot. Væring M. Geo de Montfred. Nr. 2. Syerske (E t u d e d e n u ) 1880. Kunstmuseet, Kjøbenhavn. PAUL GAUGUIN 1848— 1903 1. Have i sne. 41,6 X 49 cm. E fter en paaskrift paa blindrammen skal det være malt i Paris 1879. Testam. gave fra dr. med. K. F. Carøe 1921. Statens museum for kunst, Kjøbenhavn. 2. Syerske (élude de nu). Sign.: Gaaqidn 1880. 114,5 X 79,5. Testam. gave fra maleren Tb. Phi- lipsen 1920. L'exposition des indépendants 1881. Den frie utst. Kjøbenbavn 1893. Se: Huysmans: L'art moderne. Lettres de Paul Gauguin å Mon- freid p. 111. Kunstmuseets aarsskrift V II, p. 92-96. Statens museum for kunst, Kjøbenbavn. 3. Kunstnerens have i rue CarCel, Paris; vinter. Malt Ca. 1880. 65,1 x 5 i. Statens museum for kunst, Kjøbenbavn. 8 4- Havebillede med figurer; sommer, Ca. 1880. 87 X 114. Den frie utst. Kjøbenbavn. i 8q 3 . Statens museum for kunst, Kjøbenbavn. 5 . Krukke med blomster. Sign.: F . Gauguin. 1882. 67 X 70. Den frie utst. Kjøbenbavn. 1896. Statens museum for kunst, Kjøbenbavn. 6. Kyst ved Dieppe. Sign.: P. Gauguin 85 Dieppe. 71.5 X 7 1,5 . Statens museum for kunst, Kjøbenbavn. 7. Landskap fra Bretagne. Sign.: P. Gauguin 88. Malt i Pont Aven. go,5 X 7 1. Statens museum for kunst, Kjøbenbavn. 8. Landskap fra Bretagne. Sign.: P. Gauguin 83. 76.5 X 101. Direktør Helge JaCobsen, Kjøbenbavn. 9. Sittende kvinde i skogen, mellem dyr. M alt trærelief, 1887. Sign.: 6^«<7«mMartinique. 3o X 48,6. Direktør Helge JaCobsen, Kjøbenbavn. 10. Kystbillede fra Martinique. 64x90. Direktør Helge JaCobsen, Kjøbenbavn. 11. Landskap fra Bretagne med Bretagnekvinder. Sign.: P. Gauguin 88. 91 x 72. Direktør Helge JaCobsen, Kjøbenbavn. *"' ' '**"'*'ti Nr. 11. Landskap med Bretagnekvinder 1888. Direktør Helge JaCobsen, Kjøbenbavn. 9 12. Gjæterjente, Bretagne. Sign.: P . Gauguin 89. 71,0 X 90,5. Direktor Helge JaCobsen, Kjøbenbavn. 1 3. Kvinde med blomst, Tahiti. Sign.: P. Gau- i]uing\. l^abine no te Tiåre. 70,6 X 4^,3 . Den frie utst. Kjøbenbavn. 1893. Utst. Duraud-Ruel novbr. 1893. Direktør Helge jaCobsen, Kjøbenbavn. 14. Landskap fra Tahiti med figurer. Sign.: P. Gauguin 92. 90 X 70. Direktør Helge jaCobsen, Kjøbenbavn. 1 5 . Landskap fra Tahiti. Sign.: P. Gauguin p3 . APATARAO. 49 X 04. Direktør Helge JaCobsen, Kjøbenbavn. 16. Liggende Tahitierinder. Sign.: å Md GloaneC P. Gauguin 1894. Arearen no Varua ino. 60X98. Direktør Helge jaCobsen, Kjøbenbavn. 17. To barn. Sign. : P. GO. 46 X 60. M alt i Pouldu sommeren 94. Direktør Helge JaCobsen, Kjøbenbavn. 18. Kvinde staaende mellem blomster og forskjel- lige symboler. Trærelief. Sign.: PGo. 35 X 20,5. Direktør Helge JaCobsen, Kjøbenbavn. 19. Frugter og japansk dukke. Sign.: PG. 38,5 X 49,5. Direktør Helge JaCobsen, Kjøbenbavn. 20. Tahitilandskap med liggende kvinde. Sign.; PGo. Trærelief. 35 X ^5. Samme motiv som i det kjendte maleri «La femme aux Æangody>. C a. 1896? Direktør Helge JaCobsen, Kjøbenbavn. 21. Landskap fra Tahiti med mange figurer. Sign.: P . Gauguin 98 Faiara. g5 X / 3 . Direktør Helge JaCobsen, Kjøbenbavn. 22. Fleurs et Chats. Sign.: P. Gauguin 99. 92 X 7 1. Direktør Helge JaCobsen, Kjøbenbavn. 23. Nature morte med en grøn krukke, blaaskjæll og fisk. Sign. : P. Gauguin. 46 X 55. Maleren J. Wilbjelm, Kjøbenbavn. 24. Blomsterbuket. Sign.: j 6p.Gauguin. 5 5 x 3 6 ,5 . Maleren J. Wilbjelm, Kjøbenbavn. 20. Landskap fra Bretagne med tre frukttrær. 46,5 X 65. Studie til et billede gjengit i «L'art et les arliste.p> novbr. 1926 p. 47. Maleren J. Wilbjelm, Kjøbenbavn. 26. Landskap fra Bretagne med en vei forbi fjeld- knauser. Sign.: P. Gauguin 1881 |i887?| 59X73. Maleren J. W^ilbjelm, Kjøbenbavn. 27. Det store træ. Tahiti. Sign.: P. Gauguin 91. Te raaii vahi. Tempera. 72,5 X 91. Maleren J. Wilbjelm, K jøbenhavn.
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