Paul Gauguin – La Senna Con Il Ponte Di Jena - 1875 Olio Su Tela, 62X95 Parigi, Museo D’Orsay

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Paul Gauguin – La Senna con il ponte di Jena - 1875 olio su tela, 62x95 Parigi, Museo d’Orsay 11.01.2011 Paul Gauguin 1 Paul Gauguin – Nudo di donna che cuce (Suzanne) - 1880 olio su tela, 115x80 Copenaghen, Ny Carlsberg Glyptotek 11.01.2011 Paul Gauguin 2 Paul Gauguin – Ritratto della figlia Alina 11.01.2011 Paul Gauguin 3 Paul Gauguin – La Senna a Parigi tra il ponte di Lena e il ponte di Grenell 11.01.2011 Paul Gauguin 4 Paul Gauguin – Quattro donne bretoni – 1886 olio su tela, 72x91 Monaco, Bayerische Staatsgemelde-Sammlungen Neue Pinakothek 11.01.2011 Paul Gauguin 5 Paul Gauguin – Paesaggio britannico - 1888 11.01.2011 Paul Gauguin 6 Paul Gauguin – Al Caffè (Madame Ginoux) - 1888 Olio su tela, 73x92 Mosca, Museo Puskin 11.01.2011 Paul Gauguin 7 Paul Gauguin – Veduta degli Alyscamps - 1888 Olio su tela, 92x73 Parigi, Museo d’Orsay 11.01.2011 Paul Gauguin 8 Paul Gauguin – La Visione dopo il Sermone - 1888 Olio su tela, 73x92 Edinmburgo, National Gallery of Scotland 11.01.2011 Paul Gauguin 9 Paul Gauguin – La Belle Angele - 1889 olio su tela, 92x72 Parigi, Museo d’Orsay 11.01.2011 Paul Gauguin 10 Paul Gauguin – Il Cristo giallo - 1889 Olio su tela, 92x73 Buffalo, Albrigth-Knox Art Gallery 11.01.2011 Paul Gauguin 11 Paul Gauguin – Donna davanti a una natura morta di Cezanne - 1890 Olio su tela, 65x55 Chicago, The Art Institute 11.01.2011 Paul Gauguin 12 Paul Gauguin – Ia Orana Maria (Ave Maria) - 1891 Olio su tela, 114x89 New York, The Metropolitan Museum of Art 11.01.2011 Paul Gauguin 13 Paul Gauguin – Due donna Tahitiane sulla spiaggia - 1891 Olio su tela, 69x91 Parigi, Museo d’Orsay 11.01.2011 Paul Gauguin 14 Paul Gauguin – Manao Tupapao (Lo spirito dei morti veglia) - 1892 Olio su tela, 73x92 Buffalo, Albrigth-Knox Gallery 11.01.2011 Paul Gauguin 15 Paul Gauguin – Aa oe feii? (Come sei gelosa?) - 1892 Olio su tela, 68x92 Mosca, Museo Puskin 11.01.2011 Paul Gauguin 16 Paul Gauguin – Ea haere ia oe ? (Dove vai?) - 1893 Olio su tela, 91x72 San Pietroburgo, The State Hermitage Museum 11.01.2011 Paul Gauguin 17 Paul Gauguin – Mahana no Atua (Giorno di Dio) - 1894 Olio su tela, 70x91 Chicago, The Art Institute 11.01.2011 Paul Gauguin 18 Paul Gauguin – Et l’or de lours corps - 1901 Olio su tela, 62x73 Parigi, Museo d’Orsay 11.01.2011 Paul Gauguin 19 Paul Gauguin – Paesaggio a Le Poldu - 1886 Olio su tela, 62x Parigi, Museo d’Ors 11.01.2011 Paul Gauguin 20 Paul Gauguin – Adamo ed Eva – 19.. Olio su tela, Parigi, Muse 11.01.2011 Paul Gauguin 21 Paul Gauguin – Te tamari no atua (natività) – 18.. olio su tela, 62x9 Monaco, 11.01.2011 Paul Gauguin 22 Paul Gauguin – Da dove veniamo, chi siamo, dove andiamo? - 1898 Olio su tela, 139x374 Boston, Boston Museum of Art 11.01.2011 Paul Gauguin 23 Paul Gauguin – Ragazze Tahitiane con fiori di mango – 1899 Olio su tela, … Parigi, Mus.. 11.01.2011 Paul Gauguin 24 Paul Gauguin – Paesaggio Tahitiano – 18.. Olio su tela, Parigi, Museo d’Or 11.01.2011 Paul Gauguin 25.

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Paul Gauguin L'aventurier Des Arts
PAUL GAUGUIN L’Aventurier des arts Texte Géraldine PUIREUX lu par Julien ALLOUF translated by Marguerite STORM read by Stephanie MATARD © Éditions Thélème, Paris, 2020 CONTENTS SOMMAIRE 6 6 1848-1903 L’apostrophe du maître de la pose et de la prose 1848-1903 The master of pose and prose salute 1848-1864 Une mythologie familiale fondatrice d’un charisme personnel 1848-1864 Family mythology generating personal charisma 1865-1871 Un jeune marin du bout du monde 1865-1871 A far-flung young sailor 1872-1874 L’agent de change donnant le change en société devient très artiste 1872-1874 The stockbroker becomes a code-broker artist 8 8 1874-1886 Tirer son épingle du jeu avec les Impressionnistes 1874-1886 Playing ball with the Impressionists 1886-1887 Le chef de file de l’École de Pont-Aven 1886-1887 The leader of the Pont-Aven School 1887-1888 L’aventure au Panama et la révélation de la Martinique 1887-1888 Adventure in Panama and a revelation in Martinique 1888-1889 L’atelier du Midi à Arles chez van Gogh : un séjour à pinceaux tirés 1888-1889 Van Gogh’s atelier du Midi in Arles: a stay hammered with paintbrushes 1889-1890 Vivre et s’exposer, avec ou sans étiquette, avec ou sans les autres 1889-1890 Living and exhibiting, with or without label, with or without others 46 46 1891-1892 Un dandy tiré à quatre épingles, itinérant et sauvage 1891-1892 A wild, dressed-to-the-teeth travelling dandy 1893-1894 En peignant la Javanaise : Coup de Jarnac à Concarneau 1893-1894 Painting Javanaise Woman: Jarnac blow in Concarneau 1895 Le retour à Pont-Aven
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Gentse · Bijdragen ·- Tot De Kunstgeschiedenis En Oudheidkunde
GENTSE · BIJDRAGEN ·- TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE XXVII (1988) UITGEGEVEN DOOR DE SECTIE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE VAN DE RIJKSUNIVERSITEIT T E GENT MET DE STEUN VAN HET UN IVERSITEITSVERMOGEN GENT 1988 F GENTSE BIJDRAGEN TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE EDITORlAL ADDRESS e.o. Joost Vander Auwera Secretary of the Editorial Board St.-Hubertusstraat 2, B-9000 Gent DISTRIBUTION up to vol. 26: idem from vol. 27 onwards: PEETERS PRESS- P.B. 41 - B-3000 LOUVAIN All rights reserved. No part of this pub/ication may be reproduced, slored in a retrieval system, or transmitted in any form or by any means, e/ectronic, mechanica/ photocopying, recording, or otherwise, without the prior permission of the Faculteit Letteren en Wijsbegeerte, Sectie Kunst geschiedenis en Oudheidkunde. Copyright: © Faculteit Letteren en Wijsbegeerte Sectie Kunstgeschiedenis en Oudheidkunde Wettelijk depot: D. 1989/0634/8 ISSN: 0772-7151 GENTSE BIJDRAGEN TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE . 4 XXVII (1988) UITGEGEVEN DOOR DE SECTIE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE VAN DE RIJKSUNIVERSITEIT TE GENT MET DE STEUN VAN HET UNIVERSITEITSVERMOGEN GENT 1988 INHOUDSTAFEL H. F. MusscHE, Holzwege im Laureion Patriek MoNSIEUR, Het Herakteion van Thasos: Een evaluatie van het onderzoek . 8 F.J. DE HEN, Tohu Ubohu en Genesis van de muziekinstrumenten tijdens de middeleeuwen . 21 Juliaan H.A. DE RIDDER, Villard de Honnecourt en de Kabbala . 31 Frieda VAN TYGHEM - Jean VAN CLEVEN, Het kasteel van Moregem bij Oudenaarde ( 1792-1798). Een merkwaardig ensemble uit de 'Direc- toire '-tijd . 39 Sibylle VALCKE, François-Joseph Navez et les peintres primitifs 79 Anthony DEMEY, Een blik in het archief van de Koninklijke Commissie voor Monumenten en Landschappen: Henri Geirnaerf en de kerk van Eksaarde 88 Francisca VANDEPITTE, Het exotisme bij Gauguin .
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Mnittv of Fmt ^Rt (M
PAULGAUGUIN AS IMPRESSIONIST PAINTER - A CRITICAL STUDY DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIRIMENTS FOR THE AWARD OF THE DEGREE OF Mnittv of fmt ^rt (M. F. A.) BT MS. SAB1YA K4iATQQTI Under the supervision of 0^v\o-vO^V\CM ' r^^'JfJCA'-I ^ M.JtfzVl Dr. (Mrs.) SIRTAJ RIZVl Co-Supervisor PARTMENT OF FINE ART IGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1997 DS2890 ^^ -2-S^ 0 % ^eAtcMed to ^ff ^urents CHAIRMAN ALiGARH MUSLIM UNIVERSITY DEPARTMENT OF FINE ARTS ALIGARH—202 002 (U.P.). INDIA Dated. TO WHOM IT BIAY CONCERN This is to certify that Miss Sabiya Khatoon of Master of Fine Arts (M.F.A.) has completed her dissertation entitled "PAOL GAUGUIN AS IMPRESSIONIST PAINTER - A CRITICAL STUDY", under the supervision of Prof. Ashfaq M. Rizvi and Co-Supervision Dr. (Mrs.) Sirtaj Rizvi, Reader, Department of Fine Arts. To the best of my knowledge and belief, the work is based on the investigations made, data collected and analysed by her and it has not been submitted in any other University or Institution for any Degree. 15th MAY, 1997 ( B4RS. SEEMA JAVED ) ALIGARH CHAIRMAN PHONES—OFF. : 400920,400921,400937 Extn. 368 RES. : (0571) 402399 TELEX : 564—230 AMU IN FAX ; 91—0571—400528 CONTENTS PAGE ND. ACKNOWLEDGEMENT 1. INTRODUCTION 1-19 2. LIFE SKETCH OF PAUL 20-27 GAUGUIN 3. WORK AND STYLE 28-40 4. INFLUENCE OF PAUL 41-57 GAUGUIN OWN MY WORK 5. CONCLUSION ss-eo INDEX OF PHOTOGRAPHS BIBLIOGRAPHY ACKNOWLEDGEMENT I immensely obliged to my Supervisor Prof. Ashfaq Rizvi whose able guidance and esteemed patronage the dissertation would be given final finishing.
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Paul GAUGUIN IA ORANA MARIA
Paul GAUGUIN IA ORANA MARIA Gauguin traite un thème religieux à la mode tahitienne dans cette scène qui rappelle les estampes japonaises... · En février l 891, avant le départ de Gauguin Paul GAUGUIN 1848-1903 pour Tahiti, une vente de ses œuvres est orga • Ja Orana Maria nisée à l'hôtel Drouot. Les trente tableaux ven • Huile sur toile 113,5 cm x 87,5 cm dus rapportent trois mille six cents francs. • Signé «P. Gauguin 91 » Parmi les acquéreurs figurent Degas, Mon • Peint en 1891 freid, de Bellio, Manzi ~t les Natanson. • Localisation : New York, Metropolitan A la même éP<?que, L'Echo de Paris salue en Museum of Art Gauguin « un des artistes les plus personnels ·et les plus troublants notre ». , de époq~e ~n~ verte de fruits symbolise l'opulence de la na semaine plus tard, dans Le Moderniste, 1ecn ture. Au second plan, deux jeunes ~illes_ v_êtues _ vain et critique Albert Aurier met en évidence d'un paréo semblent prier, les marns 1orntes. le rôle joué par le peintre dans la création du La végétation à l'arrière-plan est restituée dans symbolisme. , un style décoratif qui rappelle l'art j a~nais : Trois mois après un banquet donne en son des arbres fleuris alternent avec un palmier se honneur au café Voltaire, Gauguin embarque détachant.sur les contours d'une montagne. pour Tahiti. Dès son arrivée, il attire l'attention Gauguin utilise des couleurs vives, qui âon avec ses cheveux sur les épaules et son cha nent un éclat indéniable à cette œuvre. Plus peau de cow-boy.
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Teaching Gauguin: Pacific Tudiess and Post- Impressionism Heather Waldroup
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 16 Article 8 Issue 1 May 2002 Teaching Gauguin: Pacific tudiesS and Post- Impressionism Heather Waldroup Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific slI ands Commons, and the Pacific slI ands Languages and Societies Commons Recommended Citation Waldroup, Heather (2002) "Teaching Gauguin: Pacific tudS ies and Post-Impressionism," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 16 : Iss. 1 , Article 8. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol16/iss1/8 This Research Paper is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. Waldroup: Teaching Gauguin: Pacific Studies and Post-Impressionism TeA I liNG GAUGUIN: PAClnC STUDI AND POS -IMPR.CS IONISM Heather Waldroup FOREWORD decorative forms; Gauguin's incorporation of a vast image-bank th th of iconography, from 18 -dynasty Egypt, medieval Europe, 8 _ erhaps it's because I'm looking for him, but Paul Gauguin century Java. I find myself simultaneously transfixed by the se Pseems to follow me everywhere. I am standing in line at a ductivenes of his aesthetics and repelled by the colonizing gaze bank on Rarotonga when a European woman behind me com this seduction implie . Gauguin's paintings are a rich source for ment that the bank tellers "look just like a Gauguin painting"; analysis, as they bring together discourses of Primitivism and her companion murmurs in agreement.
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Gauguin: Artist As Alchemist
Janet Whitmore exhibition review of Gauguin: Artist as Alchemist Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) Citation: Janet Whitmore, exhibition review of “Gauguin: Artist as Alchemist,” Nineteenth- Century Art Worldwide 16, no. 2 (Autumn 2017), https://doi.org/10.29411/ncaw. 2017.16.2.14. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Whitmore: Gauguin: Artist as Alchemist Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) Gauguin: Artist as Alchemist Art Institute of Chicago June 25–September 10, 2017 Grand Palais, Paris October 11, 2017–January 22, 2018 Catalogue: Gauguin: Artist as Alchemist. Gloria Groom, editor, with contributions by Dario Gamboni, Hariet K. Stratis, Ophélie Ferlier- Bouat, Claire Bernardi, Allison Perelman, Isabelle Cahn, Estelle Bégué, Nadège Horner, and Elsa Badie Modiri. New Haven, CT and London: Yale University Press, 2017. 336 pp.; 408 color and 11 b&w illus.; chronology of materials and methods; bibliography; index. $65.00 ISBN: 9780300217018 Since 1988 when the Art Institute of Chicago collaborated with the National Gallery of Art, Washington, DC, and the Musée d’Orsay on The Art of Paul Gauguin, the artist has been the subject of extensive scholarly scrutiny. Exhibitions and publications have focused on nearly every aspect of Gauguin’s life and analyzed it from every conceivable theoretical perspective. The most recent exhibition, Gauguin: Artist as Alchemist, opened in June 2017 at the Art Institute of Chicago before traveling to the Grand Palais in Paris in October.
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Paul Gauguin: Monotypes
Paul Gauguin: Monotypes Paul Gauguin: Monotypes BY RICHARD S. FIELD published on the occasion of the exhibition at the Philadelphia Museum of Art March 23 to May 13, 1973 PHILADELPHIA MUSEUM OF ART Cover: Two Marquesans, c. 1902, traced monotype (no. 87) Philadelphia Museum of Art Purchased, Alice Newton Osborn Fund Frontispiece: Parau no Varna, 1894, watercolor monotype (no. 9) Collection Mr. Harold Diamond, New York Copyright 1973 by the Philadelphia Museum of Art Library of Congress Catalog Card Number: 73-77306 Printed in the United States of America by Lebanon Valley Offset Company Designed by Joseph Bourke Del Valle Photographic Credits Roger Chuzeville, Paris, 85, 99, 104; Cliche des Musees Nationaux, Paris, 3, 20, 65-69, 81, 89, 95, 97, 100, 101, 105, 124-128; Druet, 132; Jean Dubout, 57-59; Joseph Klima, Jr., Detroit, 26; Courtesy M. Knoedler & Co., Inc., 18; Koch, Frankfurt-am-Main, 71, 96; Joseph Marchetti, North Hills, Pa., Plate 7; Sydney W. Newbery, London, 62; Routhier, Paris, 13; B. Saltel, Toulouse, 135; Charles Seely, Dedham, 16; Soichi Sunami, New York, 137; Ron Vickers Ltd., Toronto, 39; Courtesy Wildenstein & Co., Inc., 92; A. J. Wyatt, Staff Photographer, Philadelphia Museum of Art, Frontispiece, 9, 11, 60, 87, 106-123. Contents Lenders to the Exhibition 6 Preface 7 Acknowledgments 8 Chronology 10 Introduction 12 The Monotype 13 The Watercolor Transfer Monotypes of 1894 15 The Traced Monotypes of 1899-1903 19 DOCUMENTATION 19 TECHNIQUES 21 GROUPING THE TRACED MONOTYPES 22 A. "Documents Tahiti: 1891-1892-1893" and Other Small Monotypes 24 B. Caricatures 27 C. The Ten Major Monotypes Sent to Vollard 28 D.
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Oil Paintings of Word Paintings of Nature's Paintings
Zeteo: The Journal of Interdisciplinary Writing Oil Paintings of Word Paintings of Nature’s Paintings Gauguin’s Early Tahitian Canvases and Pierre Loti’s Le Mariage de Loti (The Marriage of Loti) By Richard M. Berrong rt historians have long known that one of A the things that led Paul Gauguin to go to Tahiti for the first time in 1891 was the story French novelist Pierre Loti had told in his very popular 1880 narrative Le Mariage de Loti (The Marriage of Loti) about an English naval officer’s love affair there with a young native girl, Rarahu. While this fact is regularly cited in both scholarly and popular works on the painter, it does not seem to have occurred to anyone to examine his Tahitian canvases in light of Loti’s novel. That is what I propose to do here, since the results shed light on how Gauguin conceptualized and developed some of his best known work. Richard M. Berrong is a professor of French and director of the Master of Liberal Studies program at Kent State University. Despite his dismissal of nineteenth-century French academic art, much of which was devoted to imitating predecessors like Raphael and painting scenes taken from Classical literature, in some of his early Tahiti canvases Gauguin did something somewhat similar. He developed a dialogue with the literary work of a contemporary predecessor, Loti’s novel, so that he could highlight the ways in which what he was doing was revolutionary and new.1 In this respect, he was not unlike perhaps the most innovative French painter of his era, Éduouard Manet, who three decades before had played off Raphael and Titian in his revolutionary works Luncheon on the Grass and Olympia not just to make fun of the academic obsession with Classical models, but also to highlight in what ways his works differed from theirs.
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Reactions to the Modern World-Post-Impressionism and Expressionism" (2020)
East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 17 Part 2: Reactions to the Modern World-Post- Impressionism and Expressionism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 17 arP t 2: Reactions to the Modern World-Post-Impressionism and Expressionism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/19 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Reactions to the Modern World Post Impressionism and Expressionism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary.
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Prebles' Artforms an Introduction to the Visual Arts
Prebles' Artforms An Introduction to the Visual Arts ELEVENTH EDITION CHAPTER 21 Late Eighteenth and Nineteenth Centuries Prebles' Artforms, Eleventh Edition Copyright © 2014, 2011, 2009 by Pearson Education, Inc. Patrick Frank All Rights Reserved Learning Objectives 1. Explain the social and political ideas that gave rise to Neoclassical art and architecture. 2. Recognize the visual characteristics and themes in Romanticism. 3. Discuss the origins of photography and its relationship to painting in the nineteenth century. Prebles' Artforms, Eleventh Edition Copyright © 2014, 2011, 2009 by Pearson Education, Inc. Patrick Frank All Rights Reserved Learning Objectives 4. Describe the stylistic features and artistic concerns characterizing Realism, Impressionism, and Post-Impressionism. 5. Identify representative artists and artworks of the late eighteenth and nineteenth centuries. 6. Assess the use of current events by artists to call attention to social concerns. Prebles' Artforms, Eleventh Edition Copyright © 2014, 2011, 2009 by Pearson Education, Inc. Patrick Frank All Rights Reserved Introduction • Modern age launched by Industrial, American, and French Revolutions • Enlightenment . "Age of Reason" . Rational and scientific approach to beliefs • Stylistic pluralism • Traditional sources of patronage gradually withered Prebles' Artforms, Eleventh Edition Copyright © 2014, 2011, 2009 by Pearson Education, Inc. Patrick Frank All Rights Reserved Neoclassicism • Neoclassicism . Emulation of classical Greek and Roman art . An effort to represent non-hereditary government (republic) • David, Oath of the Horatii . Story of virtue and readiness to die for liberty . Sculptural quality of figures Prebles' Artforms, Eleventh Edition Copyright © 2014, 2011, 2009 by Pearson Education, Inc. Patrick Frank All Rights Reserved Closer Look: Jacques-Louis David, The Oath of the Horatii Jacques-Louis David.
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The Modernist World the Arts in an Age of Global Confrontation
The Modernist World The Arts in an Age of Global Confrontation THINKING AHEAD How would you define modernism, and how do Cubism, Fauvism, Futurism, and Expressionism reflect its spirit? What were the effects of the Great War on the Western imagination? f the rhythm of life had long been regulated by the physi from the top of the Eiffel Tower, seen towering over Delau ology of a man or a horse walking, or, on a sailing voyage, nay's work, establishing worldwide Standard Time. By 1903, Ihy the vagaries of weather (calm, storm, and wind direc Orville Wright had been airborne 59 seconds, and by 1908, tion), after 1850 it was regulated by the machine- first by he would fly for 91 minutes. A year later, Bleriot crossed the the steam engine and the train; then, in 1897, by the auto English Channel by plane (though it would be another 18 mobile; and then, finally, hy the airplane. At the dawn of the years until Charles Lindbergh would cross the Atlantic by twentieth century, the wo rld was in motion. As early as 1880, air). The airplane in Delaunay's painting is a "box-kite" de one Fn.: nch aJverti~ in g company boasLeJ that it could post sign built in a Paris suburb beginning in 1907 by the Voisin a hillhoard ad in 35,937 municipalities in five days' time brothers, Gabriel and Charles, the first commercial airplane a billboard of the kind advertising Astra Construction in manufacturers in Europe. Finally, the signboard "MAGIC" The Cardiff Team (Fig. 14.1), a painting by Robert Delaunay refers to Magic City, an enormous dance-hall near the Eiffel [duh-lawn-AY] (1885-1941).
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'Dirty Nigger!' Or Simply, 'Look, a Negro!'
1 Primitive Scenes “‘Dirty nigger!’ Or simply, ‘Look, a Negro!’” These are the first words of “The Fact of Blackness,” the central text of Black Skin, White Masks (1952) by Frantz Fanon, the great analyst of colonial subjectivity, and they restage a primal scene of imposed identity that “fixes” Fanon in two ways at least: through the look of the white subject (“Look, a Negro!”) and the association of blackness with dirt (“Dirty nigger!”).1 Here I want to consider this look and that association in the context of the primitivist painting of Paul Gauguin, Pablo Picasso, and Ernst Ludwig Kirchner. This painting is also a primary instance of the secret sharing between modernist art and psychoanalytic theory. In the original scene a white boy, startled by the presence of Fanon, cries out with these words. In such scenes Fanon feels objectified, and yet, “in the eyes of the white man,” he lacks this “ontological resistance” too. He lacks this resis- tance, Fanon suggests, because he does not cohere:“in the white world the man of color encounters difficulties in the development of his bodily schema”(B 110). There is an echo of Jacques Lacan on “the mirror stage” here, and Fanon means these “difficulties” literally:in the mirror of the white man the image of the black man is disturbed, the formation of his I impaired. This is so, according to Fanon, because a “historico-racial schema” is projected “below” his corporeal schema in a way that interferes with it: “a thousand details, anecdotes, stories” transform him into a scattered congeries of racist stereotypes.
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