Famous Impressionist Artists Chart
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Paul Gauguin 8 February to 28 June 2015
Media Release Paul Gauguin 8 February to 28 June 2015 With Paul Gauguin (1848-1903), the Fondation Beyeler presents one of the most important and fascinating artists in history. As one of the great European cultural highlights in the year 2015, the exhibition at the Fondation Beyeler brings together over fifty masterpieces by Gauguin from leading international museums and private collections. This is the most dazzling exhibition of masterpieces by this exceptional, groundbreaking French artist that has been held in Switzerland for sixty years; the last major retrospective in neighbouring countries dates back around ten years. Over six years in the making, the show is the most elaborate exhibition project in the Fondation Beyeler’s history. The museum is consequently expecting a record number of visitors. The exhibition features Gauguin’s multifaceted self-portraits as well as the visionary, spiritual paintings from his time in Brittany, but it mainly focuses on the world-famous paintings he created in Tahiti. In them, the artist celebrates his ideal of an unspoilt exotic world, harmoniously combining nature and culture, mysticism and eroticism, dream and reality. In addition to paintings, the exhibition includes a selection of Gauguin’s enigmatic sculptures that evoke the art of the South Seas that had by then already largely vanished. There is no art museum in the world exclusively devoted to Gauguin’s work, so the precious loans come from 13 countries: Switzerland, Germany, France, Spain, Belgium, Great Britain (England and Scotland), -
Art of Life: Gauguin’S Language of Color and Shape Eva Maria Raepple College of Dupage, [email protected]
College of DuPage [email protected]. Philosophy Scholarship Philosophy 10-1-2011 Art of Life: Gauguin’s Language of Color and Shape Eva Maria Raepple College of DuPage, [email protected] Follow this and additional works at: http://dc.cod.edu/philosophypub Part of the Art and Design Commons, and the Philosophy Commons Recommended Citation Raepple, Eva Maria, "Art of Life: Gauguin’s Language of Color and Shape" (2011). Philosophy Scholarship. Paper 27. http://dc.cod.edu/philosophypub/27 This Article is brought to you for free and open access by the Philosophy at [email protected].. It has been accepted for inclusion in Philosophy Scholarship by an authorized administrator of [email protected].. For more information, please contact [email protected]. Art of Life: Gauguin’s Language of Color and Shape “Where the tree of knowledge stands, there is always Paradise”: thus speak the oldest and the youngest serpents. (Nietzsche. Beyond Good and Evil. Aphorisms. 152) Friedrich Nietzsche, the nineteenth century philosopher (1844 -1900), whose works speak of his unyielding search for an art of life, warns of the serpent’s promise, a promise that according to Genesis 3 foreshadows tribulations.1 On the stage of life the promise to know, to know as a subject that actively grasps the world, is an alluring, call, one that permits free spirits to explore and design life as a work of art beyond the confines of the herd.2 A changing role of the knowing and imagining subject in the nineteenth century enticed philosophers and inspired artists, unleashing their creativeness to explore new modes of writing and painting. -
TOULOUSE-LAUTREC PS Toulouse Lautrect 4CENG New.Qxp P-5 15 Jun7/4/2007 07.Qxp 11:39 7/26/2007 AM Page 5:45 2 PM Page 2
TOULOUSE-LAUTREC PS Toulouse Lautrect 4CENG new.qxp P-5 15 Jun7/4/2007 07.qxp 11:39 7/26/2007 AM Page 5:45 2 PM Page 2 Layout: Baseline Co. Ltd. 127-129A Nguyen Hue Fiditourist Building, 3rd Floor District 1, Ho Chi Minh City, Vietnam. © Sirrocco, London, UK (English version) © Confidential Concepts, worldwide, USA All rights reserved No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78042-440-8 PS Toulouse Lautrect 4CENG new.qxp P-5 15 Jun7/4/2007 07.qxp 11:39 25/06/2007 AM Page 3:12 3 PM Page 3 Henri de Toulouse-Lautrec PS Toulouse Lautrect 4C new.qxp 7/4/2007 11:39 AM Page 4 4 PS Toulouse Lautrect 4CENG new.qxp P-5 15 Jun7/4/2007 07.qxp 11:39 7/26/2007 AM Page 3:34 5 PM Page 5 ou know, if one were a Frenchman, or dead, or a pervert – best of all, a dead French pervert – it might be possible to enjoy life!’ laments frustrated and ‘Yunsuccessful artist in an illustration in the German satirical magazine Simplicissimus issued in 1910. He is endeavouring to paint while his domestic life crowds in on him from every direction: children run about screaming, toys lie scattered on the floor, and his wife is hanging up washing on a line stretched across his studio. -
Paul Gauguin
Paul Gauguin Painter, Sculptor 1848 – 1903 • Born on June 7, 1848 in Paris, france • Mother was peruvian, family lived Peru for 4 years • Family returns to France when he is 7 • Serves in the Merchant Marine, then the French Navy • Returns to Paris and becomes a Stockbroker • Marries a danish woman and they have 5 children • They live in Copenhagen where he is a stockbroker • Paints in his free time – buys art in galleries and makes friends with artists Portrait of Madame Gauguin • Decides he wants to (1880) paint full time – leaves his family in Copenhagen and goes back to Paris • His early work is in the impressionist style which is very popular at that time • He is not very successful at his art, he is poor • Leaves France to find a simpler life on a tropical island Aline Gauguin Brothers (1883) Visits his friend Vincent vanGogh in Arles, France where they both paint They quarrel, with van Gogh famously cutting off part of his ! own ear Gauguin leaves france and never sees van Gogh again Night Café at Arles (1888) Decides he doesn’t like impressionism, prefers native art of africa and asia because it has more meaning (symbolism) He paints flat areas of color and bold outlines He lives in Tahiti and The Siesta (1892) paints images of Polynesian life Tahitian women on the beach (1891) • His art is in the Primitivist style- exaggerated body proportions, animal symbolism, geometric designs and bold contrasting colors • Gauguin is the first artist of his time to become successful with this style (so different from the popular impressionism) • His work influences other painters, especially Pablo Picasso When do you get married? (1892) Gauguin spent the remainder of his life painting and living ! in the Marquesas Islands, a very remote, jungle-like ! place in French Polynesia (close to Tahiti) Gauguin’s house, Atuona, ! Marquesas Islands Gauguin lived ! alone in the ! jungle, where ! one day his houseboy arrived to find him dead, with a smile on his face. -
Post-Impressionism and the Late Nineteenth Century College, Cambridge
164. Paul Cézanne, Still Life with Apples, c. 1875-77. Oil on canvas, 19.1 x 27.3. King’s Post-Impressionism and the Late Nineteenth Century College, Cambridge The term post-Impressionism, meaning “After Impressionism,” designates the work of Life with Apples (fig. 164), of c. certain late 19th-century painters, whose diverse styles were significantly influenced 1875-77, painted at the height of by Impressionism. Like the Impressionists, the Post-Impressionists were drawn to his Impressionist period, Cézanne bright color and visible, distinctive brushstrokes. But Post-Impressionist forms do not subordinates narrative to form. He dissolve into the medium and their edges. whether outlined or defined by sharp color condenses the rich thematic asso- separations, are relatively clear. ciations of the apple in Western im- Within Post-Impressionism two important trends evolved. These are exemplified on agery with a new structured abstrac- the one hand by Cézanne and Seurat, who reassert formal and structural values; and tion. Cézanne’s punning assertion on the other by Gauguin and van Gogh, who explore emotional content. Both trends that he wanted to “astonish Paris set the stage for major trends in early 20th-century art. Certain Post-Impressionist with an apple” [see Box] is nowhere artists were also influenced by the late 19th century Symbolist movement. more evident than in this work. Seven brightly colored apples are set on a slightly darker surface. Each is a sphere, outlined in black and built up with patches of color- Paul Cézanne reds, greens, yellows, and oranges-like the many facets of a crystal. -
Vangogh'sjapanandgauguin's Tahitireconsidered
“Van Gogh's Japan and Gauguin's Tahiti reconsidered,” Ideal Places East and West, International Research Center for Japanese Studies, March 31,1997, pp.153-177. Van Gogh's Japan and Gauguin's Tahiti Tahiti reconsidered Shigemi Shigemi INAGA Mie U University niversity INTERNATIONAL SYMPOSIUM NO.l0 International International Research Center for Japanese]apanese Studies Idealld e al Places in HistoryHisto η - East and West - 1995 : 153-178153 -178 “Van Gogh's Japan and Gauguin's Tahiti reconsidered,” Ideal Places East and West, International Research Center for Japanese Studies, March 31,1997, pp.153-177. Van Gogh's Japan and Gauguin's Tahiti Tahiti reconsidered Shigemi INAGA Mie University If If the mountain paradise represents one type of ideal place place,, the other can be categorized categorized as the island paradise. Both in the East and in the WestWest, , it has been a common gardening practice to create an isle in the middle of a lake or a pond of a garden. garden. In JJapanese apanese the word island (“ (" shima") was literally a metonymical substitute for for the “"garden".garden". A small and isolated “"tops" tops" surrounded by water is a miniatur- miniatur ized ized version version,, or a regressive formform,, of the desire for marvelous possessions possessions,, to use Stephen Stephen Greenblatt's expression expression,, which prompted people to venture into the ocean in in search of hidden paradise. From the Greek Hesperides down to William Buttler Yeat's Yeat's Innisj Innisfree同e (or rather downdownto .to its parody as “"LakeLake Isles" in the “"Whispering Whispering Glades" Glades" by Evelyn Waugh in The Loved One [1948]),[1 948]) , the imagery of islands is abun-abun dant dant in Western literature. -
Georges Seurat – Sunday Afternoon on the Island of La Grand Jatte
LESSON PRESENTATION INSTRUCTIONS VALUE POINTILLISM Artist: Georges Seurat – Sunday Afternoon on the Island of La Grand Jatte Students will paint a picture in the style of Seurat. Time Required: 1 hour Lesson Objectives: Artist appreciation. Demonstrate how the use of color in different values creates depth and light. Materials: 8”x10” canvas board, or poster board Removable tape Acrylic paints Paper plate for palette Cotton swabs Procedure: 1. Before class, apply tape around border of canvas board. 2. Discuss artist and artwork. Define and explain value and Pointillism. 3. Demonstrate techniques: Show how two different colors of dots placed close together create the illusion of the color they would create when mixed; how to change the value of a color by adding darker or lighter colors to create shadows and light; and how the space between the dots affect the value of a single color. 4. Students will use cotton swabs dipped lightly in paint to build up a picture using all dots. Students are encouraged to fill the entire page with color – leaving no white spaces, up to and onto the taped edge. White paint is where white is represented in the picture. 5. Carefully remove tape only after painting is complete. Tips or Options: Paper without removable tape can be used and then trimmed to get a “clean” edge. This project could be done with oil pastels. Students enjoy looking at the art prints with a magnifying glass. GRADE 4 – LESSON PRESENTATION NOTES VALUE Pointillism: Dots of paint put close to each other, which the eye turns into blocks of color. -
I Dream of Painting, and Then I Paint My Dream: Post-Impressionism
ART HISTORY Journey Through a Thousand Years “I Dream of Painting, and Then I Paint My Dream” Week Thirteen: Post-Impressionism Introduction to Neo-Impressionisn – Vincent Van Goh – The Starry Night – A Letter from Vincent to Theo – Paul Gaugin - Gauguin and Laval in Martinique - Paul Cézanne, Turning Road at Montgeroult - Paul Cézanne, The Basket of Apples - Edvard Munch, The Scream – How to Identify Symbolist Art - Arnold Bocklin: Self Portrait With Death - Fernand Khnopff, I Lock my Door Upon Myself Der Blaue Reiter, Artist: Wassily Kandinsky Dr. Charles Cramer and Dr. Kim Grant: "Introduction to Neo-Impressionism” smARThistory (2020) Just a dozen years after the debut of Impressionism, the art critic Félix Fénéon christened Georges Seurat as the leader of a new group of “Neo-Impressionists.” He did not mean to suggest the revival of a defunct style — Impressionism was still going strong in the mid- 1880s — but rather a significant modification of Impressionist techniques that demanded a new label. Fénéon identified greater scientific rigor as the key difference between Neo-Impressionism and its predecessor. Where the Impressionists were “arbitrary” in their techniques, the Neo- Impressionists had developed a “conscious and scientific” method through a careful study of contemporary color theorists such as Michel Chevreul and Ogden Rood. [1] A scientific method Pierre-Auguste Renoir, Bal du Moulin de la Galette, 1876, oil on canvas, 131 x 175 cm (Musée d’Orsay) This greater scientific rigor is immediately visible if we compare Seurat’s Neo- Impressionist Grande Jatte with Renoir’s Impressionist Moulin de la Galette. The subject matter is similar: an outdoor scene of people at leisure, lounging in a park by a river or dancing and drinking on a café terrace. -
Vincent Van Gogh and Paul Gauguin Left the City, Seeking to Renew Themselves As Artists in Simpler, Rural Environments
Vincent van Gogh / Paul Gauguin A Rocky Friendship 1 Vincent van Gogh (1853 – 1890) and Paul Gauguin (1848 – 1903) both experimented with the expressive possibilities of color and line to create distinct personal styles of painting. Working in France at the end of the nineteenth century, the two friends inspired each other during a nine-week period in the autumn of 1888. In February of that year, Van Gogh moved to the peace- ful town of Arles in the south of France. He dreamed of creating a “studio of the south” where a group of art- ists could work and live as a community. He invited his friend and fellow painter Gauguin to join him. Van Gogh transformed his yellow house into an artist’s studio in anticipation. Gauguin finally moved to Arles in October of 1888. Although they learned from each other’s techniques and produced many works side by side, Van Gogh’s stubborn nature and Gauguin’s pride and arrogance made their life together difficult. After nine weeks, a passionate argument caused Van Gogh to have a mental breakdown, and Gauguin returned to Paris. Despite the unhappy ending to the “studio of the south,” the two painters remained friends, and they wrote letters to each other until Van Gogh died two years later. Even though they had different personalities, the two “They say — and I am very willing to believe it — that it artists shared some things in common: is difficult to know yourself — but it isn’t easy to paint Both were essentially self-taught artists. -
"I Am Trying to Put Into These Desolate Figures the Savagery That I See in Them and Which Is in Me Too
"I am trying to put into these desolate figures the savagery that I see in them and which is in me too... Dammit, I want to consult nature as well but I don't want to leave out what I see there and what comes into my mind." SYNOPSIS Paul Gauguin is one of the most significant French artists to be initially schooled in Impressionism, but who broke away from its fascination with the everyday world to pioneer a new style of painting broadly referred to as Symbolism. As the Impressionist movement was culminating in the late 1880s, Gauguin experimented with new color theories and semi-decorative approaches to painting. He famously worked one summer in an intensely colorful style alongside Vincent © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Van Gogh in the south of France, before turning his back entirely on Western society. He had already abandoned a former life as a stockbroker by the time he began traveling regularly to the south Pacific in the early 1890s, where he developed a new style that married everyday observation with mystical symbolism, a style strongly influenced by the popular, so-called "primitive" arts of Africa, Asia, and French Polynesia. Gauguin's rejection of his European family, society, and the Paris art world for a life apart, in the land of the "Other," has come to serve as a romantic example of the artist-as- wandering-mystic. KEY IDEAS After mastering Impressionist methods for depicting the optical experience of nature, Gauguin studied religious communities in rural Brittany and various landscapes in the Caribbean, while also educating himself in the latest French ideas on the subject of painting and color theory (the latter much influenced by recent scientific study into the various, unstable processes of visual perception). -
M/S Paul Gauguin SHIP FACTS & FEATURES
m/s Paul Gauguin SHIP FACTS & FEATURES Awards & Accolades “#1 Small-Ship Cruise Line” Travel + Leisure, World’s Best Awards (2014) “Top 20 Small Cruise Ships,” (2013—our 15th year in a row) Condé Nast Traveler, Readers’ Choice Awards “#1 Small-Ship for Families,” Travel + Leisure, World’s Best Awards Readers’ Survey (2014, 2013) Cruise Critic, Small Ship Category, Cruisers’ Choice Awards (2014) “Best South Pacific Itinerary,”Porthole Cruise Magazine, Readers’ Choice Awards (2013, 2012, 2011, 2010, 2007, 2006) Silver Magellan Award Winner, Travel Weekly, Small Cruise Ship Category (2013, 2012, 2011) 6‒Star Rating, Stern’s Guide to the Cruise Vacation (2014, 2013, 2012, 2011) Your Home at Sea Our emphasis is on providing the 332 guests on each sailing with a delightful experience, aboard and ashore. Join us, and enjoy unsurpassed service and attention to detail amid elegant, relaxing surroundings. SHIP FEATURES: • All-inclusive pricing: select wines and spirits, beer, soft • A day at Motu Mahana, Paul Gauguin’s exclusive, private drinks, bottled water, and hot beverages retreat off the coast of Taha’a, featuring Polynesian • Shipboard gratuities for room stewards and dining staff hospitality, snorkeling, watersports, bar service, and a delicious feast • Complimentary 24-hour room service, including selections from L’Etoile Restaurant during regular dining hours • Access to an exclusive, private beach located on a motu off the coast of Bora Bora that offers an idyllic white-sand • All oceanview accommodations, nearly 70% with balconies, beach, excellent snorkeling, and bar service on Tahiti and measuring from 200 to 588 sq. ft., including balcony French Polynesia itineraries. -
Seurat and Matisse: Influence, Tradition, and the Legacy of Divisionism
Seurat and Matisse: Influence, Tradition, and the Legacy of Divisionism By: Justin Earp Faculty mentor: Seth McCormick Abstract In a historical context, Georges Seurat is and will always be regarded as the quintessential divisionist painter. He launched an artistic revolution, beginning with his work to establish a radically new style to close out the nineteenth century, and continuing into his indirect influence on Henri Matisse, who helped to revolutionize twentieth century art and beyond. Seurat was a diligent worker who left nothing to chance in constructing his work. He studied and grinded through every minute detail of the process, and if it were not for this diligence, we may not have seen neo-impressionism become the juggernaut of a movement that we know it as today. Seurat’s influence on his contemporaries was clear, as he was able to amass a group of artists who adopted his style and artistic ideals. It is difficult to say just how much differently the story of twentieth century art might have been told if Matisse never delved into Seurat’s ideals, but it is safe to say that art history would have been changed. Whatever the reasons for Matisse’s decision to begin the Fauvist movement are largely irrelevant to the fact that Seurat’s influence challenged Matisse to learn more about himself as an artist. His trials and tribulations through divisionism guided him toward an outlet of expression that he had been searching for all along. It helped him find freedom and originality, and many artists who followed would be greatly influenced.