Relevant bibliographies by topics / Gauguin, Paul

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Gauguin, Paul'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Gauguin, Paul"

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Song, Yixiao. "The Analysis of the Vision of the Sermon: A Comparative study on Gauguin's relationship with Symbolism and Fauvism." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 308–14. http://dx.doi.org/10.54097/ehss.v1i.676.

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Paul Gauguin is one of the three masters of post-impressionist painting school. The Vision of the Sermon is a landmark work of Gauguin in the process of artistic creation, which was created during Gauguin's sketching on the Brittany peninsula. It is through the completion of this work that Gauguin is known as the "founder of symbolism". Through the image analysis of the Vision of the Sermon, this paper summarizes and compares Gauguin's painting characteristics with symbolism and fauvism. Combined with scientific literature research, we can better understand Gauguin's artistic characteristics and his thinking on art and life. Symbolism and fauvism all have many common skills and characteristics with Gauguin and have a close relationship with each other. Through research, we can comprehensively and objectively analyze the connotation of Gauguin's illusion after his sermon, understand Gauguin's painting style and ideas, and witness Gauguin's influence on other painting schools and their position in the history of art.
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Iswahyudi. "Paul Gauguin and the Quest for World Spirituality." Britain International of Linguistics Arts and Education (BIoLAE) Journal 3, no. 1 (2021): 108–20. http://dx.doi.org/10.33258/biolae.v3i1.428.

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Paul Gauguin was born in Paris, France on June 7, 1848. The dynamics of his life journey greatly motivated his search for something deeper and more meaningful in his life and work. Gauguin's disillusionment with the bourgeois society in his environment and his desire to create his art works encouraged his decision to devote himself totally as an artist, especially outside his environment. He traveled from one region to another outside Europe. This experience will influence his development as a painter. The trips that Gauguin often undertook were influenced by his work as well as seeking broader and deeper experiences. As a European he sought a "primitive" lifestyle that was neither tangible nor considered "exotic". He is looking for geographic answers to his professional and personal searches while living in Tahiti. By examining his personal life, it is known that Gauguin's wandering led him to a deeper spiritual life, which is reflected in his works and writings. In order to understand the expression of spirituality in his work, we will examine several major works by Gauguin that clearly depict images of Buddhism and other Eastern religions.
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Sweetman, David. "Paul Gauguin: A Life." Journal of Aesthetics and Art Criticism 56, no. 3 (1998): 322. http://dx.doi.org/10.2307/432383.

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Buckley, Peter J. "Paul Gauguin, 1848–1903." American Journal of Psychiatry 173, no. 2 (2016): 115–16. http://dx.doi.org/10.1176/appi.ajp.2015.15091166.

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Koepsell, Thomas D. "Paul Gauguin (1848-1903)." Archives of Pediatrics & Adolescent Medicine 158, no. 4 (2004): 306. http://dx.doi.org/10.1001/archpedi.158.4.306.

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Zagorodneva, Kristina V. "Dialogues with the Artist and Functions of Pictures in Arkady Stavitsky’s Play ‘Good afternoon, Mister Gauguin!’." Вестник Пермского университета. Российская и зарубежная филология 14, no. 1 (2022): 120–32. http://dx.doi.org/10.17072/2073-6681-2022-1-120-132.

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The article analyzes Good Afternoon, Mister Gauguin!, the only ekphrastic play by modern Russian playwright and screenwriter Arkady Stavitsky (1930-2020), in the context of the writer’s works and taking into account approaches to the study of ekphrasis and visuality in drama. Following the intermedial approach, the research involved the study of works on art criticism and biographies dedicated to Gauguin’s life and work. Stavitsky focuses not only on the personality of the famous artist Paul Gauguin but also on his works created in the late 80s and early 90s of the 19th century. The ekphrasis of the picture ‘Good Afternoon, Mister Gauguin’ is present in the detailed remark at the beginning of the play. The title of both the picture and the play reflects the emotional state of the hero and ‘loops the finale’. The picture ‘The Yellow Christ’ symbolically sharpens the conflict between life and art, art and society. Stavitsky rethinks Gauguin’s character through his relationship with female characters in the play: the characters of Anna, Juliette, and Mette refer to the images of the myrrh-bearers at the foot of the cross in the picture ‘The Yellow Christ’ or ‘three Joans of Arc’ in the painting ‘Breton Women’.The pictures mentioned in the play are mostly by Paul Gauguin and his friend Emil Necker. Accordingly, while the pictures of the former are real, those of the latter are fictional. The generalized character of Emil Necker in the play suggests a parallel with S. Maugham’s novel The Moon and Sixpence. Necker’s picture ‘A Woman with a Child’ refers the reader to the famous canvases of Western European painters on the plot of the Virgin and Child. Emil’s wife Anna becomes one of the models for Gauguin’s works – the painting ‘Loss of Innocence’ and the sculpture ‘Be in Love and You Will Be Happy’, revealing the other side of her nature. The conflict between Anna and Juliette, another one of Gauguin’s models, is dramatized in the scene with a sketch for these works. The image of Van Gogh, depicted in the play as an unrecognized but ingenious artist, unites and contrasts Emil and Paul. The playwright’s familiarity with the published correspondence between Gauguin and Van Gogh, Gauguin and his wife Mette is obvious. The dialogism of the picture whose name is reproduced in the title of the play correlates not only with the dialogues in the play, organized around other pictures, but also emphasizes the author’s contradictory attitude toward his hero.
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Maleuvre, Didier. "The Trial of Paul Gauguin." Mosaic: an interdisciplinary critical journal 51, no. 1 (2018): 197–213. http://dx.doi.org/10.1353/mos.2018.0012.

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Persson, Disa. "Imperial Story." Groundings Undergraduate 8 (April 1, 2015): 116–28. http://dx.doi.org/10.36399/groundingsug.8.212.

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This article examines the relationship between the French fin-de-siècle painter Paul Gauguin’s (1848-1903) anti-modernism and the ideology behind the colonial project. Setting out to refute the Western materialistic ‘civilisation’, Gauguin embraced the supposed savage, primitive, and pure ‘Other’. In paintings such as ‘Breton Calvary’ (1889) and ‘The Specter Watches Her’ (1892), Gauguin uses Breton farmers and Tahitian women as formal embodiments of his imagined ‘earthly paradise’ and the primordial ‘savage’ character. However, as the postmodern philosopher Michel Foucault (1926-1984) argues, there is always a relationship of power within a discourse. Through defining what is ‘primitive’ and what is ‘civilised’ from within a Western paradigm, Gauguin is testifying to a Western hegemony. Though Gauguin’s idealisation of the ‘primitive’ essentially sought to criticise the Western colonial discourse, it essentially reinforces its main ideological justification: the hierarchical dichotomy between the ‘primitive’ and the ‘civilised’.
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Herbertson, Gavin. "‘Our Creole Painter’: Derek Walcott's Early Intermediality." Comparative Critical Studies 21, no. 1 (2024): 7–27. http://dx.doi.org/10.3366/ccs.2024.0502.

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This article probes the complex interrelationship between Derek Walcott's poetry, Paul Gauguin's art, and Ernest Hemingway's prose. Following an overview of cutting-edge research into postcolonial artistic intermediality, it argues that Walcott admired Gauguin's depictions of Caribbean landscapes, but that this admiration was tempered by his awareness of the artist's racism. Having established the broad strokes of their relationship, the article hones in on the influence Gauguin exerted on Walcott's early lyric ‘Letter to a Painter in England’ (1948). Through close reading, it outlines the role Gauguin's synthetism played in shaping the work's aesthetic, especially with regard to its nonmimetic use of colour, and contends that Walcott's early imitation of Gauguin was inspired by Ernest Hemingway's intermedial imitations of Cézanne. However, unlike Hemingway, Walcott sought to ‘re-vision’ his model through visual-verbal translation.
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Montijano Cañellas, Marc. "Gauguin, Paul: Escritos de un salvaje." Boletín de Arte, no. 21 (July 3, 2019): 561–62. http://dx.doi.org/10.24310/bolarte.2000.v0i21.6571.

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Gauguin personaje mítico, la leyenda de un espíritu seguro de ser grande, un hombre incomprendido que se sabía gran artista. Mil historias se cuentan sobre este salvaje, todas ellas falsas, todas ellas verdaderas. Siempre con hambre, en la miseria, sin ganas de pintar, con la muerte acechando, y sin embargo, siempre gozando, viviendo en la hermosura de un lugar idílico repleto de olores, colores y sabores intensos.
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Dissertations / Theses on the topic "Gauguin, Paul"

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Ilorah, Miriam. "Paul Gauguin och den koloniala blicken : En receptionsanalys av Paul Gauguins konst i Sverige år 1926 och 1970." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34829.

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This study is about the reception of Paul Gauguin’s art in Sweden in 1926 and 1970. I chose these dates because of the exhibitions displaying Gauguin’s art in Stockholm then, as it is the reception in Sweden I’m concerned with. The reception will be examined by studying relevant material as exhibition catalogues and newspaper articles. The study starts with a biography on Gauguin’s life to provide relevant background information. Then, a semiotic analysis of the painting Manao tupapau (1892) that Gauguin painted during his first stay on Tahiti (1891-1893). I feel that this paining really represents the imperial gaze Gauguin used to view and portrait the local population on Tahiti with. Throughout my study I use postcolonial theory in my analysis and I also draw parallels between Gauguin’s art and the racial photography of indigenous populations that Åsa Bharathi Larsson writes about. I feel that the production of photos have a lot in common with the production of Gauguin’s art and the result also shows that this racial photography helped establish the imperial gaze that the Swedish art critics later viewed Gauguin’s art with, especially in 1926. In 1970, the gaze had evolved and Gauguin’s lifestyle was criticized. Still, In spite of this critic, Gauguin’s art can still be exposed today (2017-18), without any mentioning of the circumstances under it was made, nor its exotifying traits.
Det här arbetet handlar om receptionen av Paul Gauguins konst i Sverige i samband med de utställningar av hans konst som tagit plats i Stockholm år 1926 och 1970. Arbetet består av analyser av det material som producerats i samband med utställningarna; utställningskataloger och tidningsartiklar. En semiotisk bildanalys av hans målning Manao tupapau har utförts då jag anser att det verket bäst sammanfattar de koloniala strukturer jag menar Gauguins konst bär på. Postkolonial teori används genomgående som teori i arbetet och jämförelser mellan den konst som Gauguin producerade på Tahiti i slutet av 1800- talet och de rasbiologiska fotograferingar som Åsa Bharathi Larsson skriver att Sverige utförde på Tahiti under sent 1800-tal har utförs. Resultatet visar också att dessa rasbiologiska studier bidragit till att lägga grunden för den koloniala blick med vilken konstkritiker i Sverige betraktade Gauguins konst främst år 1926. Studien visar att blicken med tiden utvecklades och att det år 1970 riktades kritik mot Gauguins livsstil. Trots detta kan idag (2017-18) Gauguins konst exponeras utan att omständigheterna kring hur den skapades eller de exotifierande egenskaper den bär på, nämns.
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Poirson, Rarahu. "Le mythe de Gauguin." Nice, 1991. http://www.theses.fr/1991NICE2009.

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Alors que les objets tribaux mesuraient l'évolution technique des sociétés et stipulaient la mission civilisatrice qui incombait aux nations européennes, Gauguin choisit de les tenir pour le devenir de l'art moderne, outrepassant les valeurs bourgeoises. Il porta sa recherche à la limite extrême, dans l'espace, il alla jusqu'aux antipodes, à Tahiti et aux îles Marquises, dans le temps jusqu'à l'immémorial, sauvant le peuple polynésien de l'oubli de sa culture. Tandis que la lucidité engageait à reconnaître la dette contractée envers l'art primitif, l'aveuglement la niait afin de se dispenser de toute réévaluation. De cet affrontement, les images diverses et contradictoires que la postérité a tracées de Gauguin au long du XXe siècle témoignent. À travers ces interprétations successives qui composent le mythe de Gauguin, il s'est agi d'appréhender un moment décisif dans l'histoire de l'art : l'avènement de l'art moderne, introduit par une notion inédite, le primitivisme. Lorsque les consciences occidentales eurent la certitude que les arts primitifs étaient devenus arts du passé, elles s'autorisèrent à célébrer Gauguin comme le père du primitivisme moderne
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Merlhès, Victor. "Gauguin ès Lettres : recherches sur la vie, l'oeuvre, les écrits et la correspondance de Paul Gauguin." Paris 10, 1997. http://www.theses.fr/1997PA100078.

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Recherche, analyse, edition de la correspondance de paul gauguin (1873-1888) ; publication de tres nombreuses lettres inedites (notamment de toutes les lettres a c. Pissarro) ; recherches biographiques approfondies sur gauguin et son cercle ; etude de la periode impressionniste du peintre et de son evolution vers le symbolisme ; etude de ses relations avec les artistes de son temps et notamment avec les peintres du groupe impressionniste etendu ; analyse de ses relations avec vincent et theodore van gogh, avec emile schuffenecker, charles lavai, emile bernard et les peintres de pont-aven ; etude des expositions de gauguin, des critiques qui lui furent consacrees (en particulier dans le mercure de france entre 1890 et 1900), de sa reaction face a la critique. Esthetique de paul gauguin ; etude de ses rapports avec le monde litteraire, avec le livre et la chose ecrite ; recherches iconographiques sur l'artiste, son oeuvre, son entourage et son temps ; recherches sur l'oeuvre plastique de gauguin et sur la genese de quelques pieces particulieres ; recherches sur les sejours danois, bretons, antillais et polynesiens de l'artiste. Publication critique de deux manuscrits : le cahier pour aline (1893) et racontars de rapin (1902). Panorama historique et critique des etudes relatives a paul gauguin entre 1903 et 1978.
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Cobill, Brenda. "A study of the relationship between Paul Cézanne and Paul Gauguin." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22576.

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This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.
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Regnault, Leclerc Martine. "Etude des traces écrites dans l'oeuvre de Paul Gauguin." Dijon, 1998. http://www.theses.fr/1998DIJOL009.

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Le but de cette thèse est d'étudier les traces écrites dans l'œuvre de Paul Gauguin. Elle comprend une introduction au XIXème siècle marquant le renouveau de l'écriture à travers la linguistique, les déchiffreurs, la graphologie et le japonisme. La seconde partie présente une typologie des mots recensés dans l'ensemble de l'œuvre. La troisième partie établit des rapports entre l'écriture et l'image dans la signature, les dessins dans la correspondance, le manuscrit illustré et les tableaux. Elle pose la question de l'origine iconique de l'écriture. La quatrième partie étudie les espaces graphiques comme le papier, la toile, le vitrail, le bois, l'argile, le tapa et le corps humain. Ce sont des témoins matériels de la dynamique créatrice de Paul Gauguin et des instruments qui permettent à l'artiste de se redéfinir par rapport au monde. Le cycle des métamorphoses amorce par Paul Gauguin à travers la trace et les espaces graphiques le conduit aux origines de l'homme, à ses premiers gestes, à l'alliance matière-main, trace-support, puis à l'éveil spirituel et au déchiffrement de soi
The aim of this thesis is the study of the written traces in Paul Gauguin’s work. Its first part is an introduction to the nineteenth century, indicating the renewed interest in writing through linguistics, decipherers, graphology and Japanese art. The second part presents a typology of the words discovered in the entire works. The third part establishes relations between writing and image to be found in the signature, drawings in the correspondence, the illustrated manuscript and the paintings. It raises the question of the origin of the writing in relation to the image. The fourth part studies the graphic media such as paper, canvas, stained-glass, wood, clay, tapa and the human body. These are material references to Paul Gauguin’s creative dynamics and instruments which allow the artist to place himself in relation to the world. The transformation cycle initiated by Paul Gauguin through the traces and the graphic media leads him to the origin of man, to man's initial gestures, to the material-hand and trace-medium union and finally to his own spiritual awakening and self- deciphering
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Giraud, Vaiana. "Paul Gauguin écrivain : rôle et place de l'écrit dans son oeuvre." Poitiers, 2010. http://www.theses.fr/2010POIT5020.

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Paul Gauguin (1848-1903) est un peintre majeur de l'histoire de l'Art, dont l'oeuvre a ouvert la voie à de nombreux courants artistiques du XXème siècle. Mais il est important aujourd'hui de rendre à l'homme sa dimension exceptionnelle d'artiste polymorphe : céramiste novateur, sculpteur d'âme et surtout audacieux écrivain, pour qui la rencontre avec la Polynésie a été déterminante. Seule une partie de ses manuscrits nous est parvenue et nous dévoile un être en quête d'un ailleurs plus intime que géographique. Ses éternelles recherches sont celles d'une forme aussi expressive que ses convictions, dont le sens dépasse de loin le seul accompagnement de son oeuvre picturale. La variété des écritures surprend tout autant que la modernité, la structure et le contenu de ses ouvrages : cahiers intimes, contre-critique, écrits journalistiques, pamphlet, conte, recueil, dans une langue abrupte aussi effilée qu'une arme, un style fragmentaire, un langage sans fioriture mais dense d'émotion, Paul Gauguin se livre en homme de son temps. Soumis aux clichés du XIXème siècle, il nous laisse paradoxalement une oeuvre atemporelle dépassant les carcans officiels artistiques, coloniaux ou religieux. Ses écrits font état de ses luttes et de ses recherches, de ses certitudes de créateur en même temps que de ses fêlures d'homme qui aimait à se présenter en artiste maudit et clamait « je ne suis pas écrivain »
Paul Gauguin (1848-1903) is a major painter in Art History; his work opened the way to numerous artistic trends of the twentieth century. However, it is important today to hand over to the man his exceptional polymorph artist dimension: as innovative ceramist, a soul sculptor, and particularly an audacious writer, for whom the encounter with French Polynesia was determining. Only a handful of his manuscripts came to us and they unveil someone longing for an intimate distant world rather than just a geographic one. His endless researches aim at a form as expressive as his convictions, which meaning surpasses by far the only accompaniment of his pictorial work. The variety of his writings is as astonishing as the modernity, the structure and the content of his works: intimate books, counter critiques, journalistic writings, pamphlets, stories, and anthologies written in an abrupt language as sharp as a blade, a sketchy style, a plain unadorned language, however dense in emotion. Paul Gauguin shows himself as a man of his time. And yet submissive to the 19th century's clichés, he leaves us with a timeless work of art, surpassing official artistic, colonial and religious constraints. His written works put forward his struggles and his quests, his certainties of creator along with the cracks of the man who liked to present himself as a doomed artist , saying out loud: "Je ne suis pas écrivain" ("I am no writer")
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Thomas, Kerstin. "Welt und Stimmung bei Puvis de Chavannes, Seurat und Gauguin." Berlin München Dt. Kunstverl, 2005. http://d-nb.info/999600230/04.

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Daftari, Fereshteh. "The influence of Persian art on Gauguin, Matisse, and Kandinsky /." New York ; London : Garland publ, 1991. http://catalogue.bnf.fr/ark:/12148/cb37423050q.

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Malmon, Isabelle. "Le tupapau et le génie à capuche : étude d'une figure entêtante dans l'oeuvre de Paul Gauguin." Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0019.

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En 1892, la toile Manao tupapau de Paul Gauguin présente, à l’arrière d’une vahiné dénudée, un petit personnage encapuchonné. L’artiste explique qu’il s’agit d’un tupapau, d’un revenant dans les traditions polynésiennes. Le motif en réalité est déjà apparu en France en 1888, sans référence à l’Océanie, et ne cessera de hanter l’œuvre jusqu’au décès de Gauguin en 1903. Cette figure thanatique, intrusive dans une œuvre qualifiée d’exotique et d’érotique, méritait réflexion, d’autant que la critique l’a souvent banalisée ou effacée. Ce personnage montre-t-il que l’artiste cède au fantastique fin-de-siècle ? S’agit-il d’alimenter l’exotisme, comme les Orientalistes, en faisant cohabiter cette entité ténébreuse avec la «belle des îles» ? Y a-t-il, de la part d’un homme exécrant l’Europe mercantiliste et racialiste, un intérêt sincère pour le surnaturel polynésien persécuté par les missions chrétiennes ? Notre travail a montré que l’excursion dans les îles du Pacifique pouvait virer à la descente aux Enfers. Face à la normalisation coloniale et chrétienne des mœurs et croyances polynésiennes, la peur de la damnation, la mortalité effrayante dû au mal vénérien, le démon à capuche est la mort qui gagne sur les plaisirs, la diabolisation de la liberté sexuelle. Mais il exprime aussi une ingression dans les ténèbres de la psyché, une tension entre volonté de jouissance dans la nouvelle Cythère et peur d’une sexualité féminine diabolisée et indomptée, entre désir de régression vers la mère et envie de fuir une figure tutélaire anxiogène. Le petit génie macabre contribue enfin à orienter l’œuvre vers une esthétique originale, mettant à mal les stéréotypes artistiques et idéologiques
In 1892, Paul Gauguin’s painting Manao tupapau shows, behind a naked Tahitian woman, a little hooded character. The artist explains that this is a tupapau, that is to say a ghost in the Polynesian traditions. In reality the pattern already appeared in France in 1888, without any reference to Oceania, and it will haunt the work of Gauguin until he died in 1903. This figure, invasive in a so-called exotic and erotic work, deserves special attention, especially as most critics often trivialised or deleted it. Does this character prove that the artist is yielding to fin-de-siècle fantasy ? Is it a way to feed exotism, like the Orientalists painters, by the coexistence between this shadowy ghost and the « belle des îles » ? Knowing that Gauguin hated the mercantilist and racialist Europe, does he have a real interest in the Polynesian occult world and beliefs as they were fought by Christian missions ? Our dissertation showed that Gauguin’s excursion in the Pacific islands went a downward spiral. When the Polynesian customs and religion are standardized by colonialism and Christianism, when guilt of damnation and mortality caused by the syphilis are spreading, the hooded genius represents death prevailing over pleasure, the demonization of sexual freedom. This figure expresses also a descent into the dark room that is Gauguin’s psyche, his being torn between will of enjoyment in the new Cythère and fear of a demonized and untamed female sexuality, between his desire to come back to the mother image and his avoidance of a stressful domination figure. At last the little genius helps to give the work an original esthetics, challenging artistic and ideological stereotypes
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Hirota, Haruko. "La sculpture de Paul Gauguin dans son contexte (1877-1906) et le catalogue raisonné informatisé de l'oeuvre sculpté." Paris 1, 1998. http://www.theses.fr/1998PA010691.

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La présente étude a pour objet de réviser la totalité de la sculpture de Paul Gauguin, et de la resituer dans son contexte, c'est-à-dire dans son rapport avec le développement artistique propre à son époque. Reconnues de nos jours comme précurseurs du primitivisme du XXe siècle, les créations audacieuses de Gauguin n'ont pas, en effet, été examinées dans le cadre du XIXe siècle. Notre recherche consiste d'une part, à trouver les sources possibles de ses sculptures, les influences qu'il reçut de ses contemporains, tels qu'Aube, Carries et Rodin, à distinguer ses particularités artistiques, et d'autre part, à éclairer l'iconographie de ses œuvres dans le contexte du symbolisme et de l'idée primitiviste. Au cours de l'examen des œuvres par étapes, il s'avère que le principe fondamental de la création de Gauguin réside dans la dialectique des deux pôles, central et marginal, occidental et non-occidental, ce qui est caractéristique du primitivisme propre au XIXe siècle. Dans cette optique, ses intérêts pour les différentes formes d'arts populaires sont notables. Par ailleurs, ses intérêts pour la culture primitive océanienne, tout en étant syncrétique, produisent des œuvres d'une dimension mythique et totémique, qui annoncent le primitivisme du XXe siècle. Son art qui témoigne à la fois de l'historicité et du mythique se situe justement dans cette période de transition. Notre thèse se compose de deux parties : le texte, et le catalogue raisonné dans lequel nous avons pu ajouter 14 œuvres depuis longtemps oubliées ou non encore publiées - aux catalogues de Merete Bodelsen et de Christopher Gray, édités il y a plus de trente ans
The purpose of this study is to re-examine the totality of the sculpture of Paul Gauguin, and to place it in its context, that is, in its relation to the artistic developments peculiar to his time. Recognized today as precursors of primitivism of XXth century art, the bold creations of gauguin have not been examined in the framework of the XIXth century. This research consists, on the one hand, in finding the possible sources of his sculptures, the influences he received from his contemporaries such as aube, carries and rodin, in distinguishing his artistic features, and on the other hand, in elucidating the iconography of his sculptures in the context of symbolism and of primitivist ideas. In the course of examining his pieces, it will be confirmed that the fundamental principle of the creation of gauguin lies in the dialectic of two poles, central and marginal, occidental and nonoccidental, which is characteristic of the primitivism of the XIXth century. From this point of view, his interest in the various forms of popular art is notable. On the other hand, his interest in the primitive culture of oceania, despite its syncretism, produced works of mythical and totemic dimensions, which herald the primitivism of the XXth century. His art that shows the historicity and the mythic at the same time is placed just in this period of transition. This thesis is composed of two parts: the text and the catalogue raisonne which adds 14 works - forgotten for a long time or not yet published - to the catalogues of Merete Bodelsen and Christopher Gray, edited over thirty years ago
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Books on the topic "Gauguin, Paul"

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Gauguin, Paul. Paul Gauguin. Fondation Beyeler, 2015.

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collab, Huchet Bernard, ed. Paul Gauguin. Somogy, 2003.

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Venezia, Mike. Paul Gauguin. Children's Press, 1995.

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Adeline, Peter, ed. Paul Gauguin. Harper & Row, 1988.

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Amann, Per. Paul Gauguin. Padre Publishers, 1990.

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Flux, Paul. Paul Gauguin. Heinemann Library, 2002.

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Greenfeld, Howard. Paul Gauguin. H.N. Abrams, 1993.

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Wood, Alix. Paul Gauguin. Windmill Books, 2015.

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Daix, Pierre. Paul Gauguin. J.-C. Lattès, 1989.

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Raboff, Ernest Lloyd. Paul Gauguin. J.B. Lippincott, 1988.

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Book chapters on the topic "Gauguin, Paul"

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Wild, Gerhard. "Gauguin, Paul." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3751-1.

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Nievers, Knut. "Gauguin, Paul: Noa Noa." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3752-1.

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Oleś, Piotr K. "The Paul Gauguin Syndrome: A Great Life Change." In The Palgrave Handbook of Social Creativity Research. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95498-1_20.

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Büdenbender, Hanna. "2.4 DER KÜNSTLER ALS TOURIST: PAUL GAUGUIN AUF TAHITI." In »Wow, that's so postcard!« - De-/Konstruktionen des Tropischen in der zeitgenössischen Fotografie. transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839448069-011.

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"Paul Gauguin: Synthetist theories." In Theories of Modern Art. University of California Press, 1996. http://dx.doi.org/10.1525/9780520353268-008.

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"9. Desire of the Night." In Symbolism of Paul Gauguin. University of California Press, 2007. http://dx.doi.org/10.1525/9780520930988-011.

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"1. Gauguin’s Heritage: His Family and Their Nineteenth-Century World." In Symbolism of Paul Gauguin. University of California Press, 2007. http://dx.doi.org/10.1525/9780520930988-003.

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"4. The Great Dilemmas of Humanity." In Symbolism of Paul Gauguin. University of California Press, 2007. http://dx.doi.org/10.1525/9780520930988-006.

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"11. The Last Years in Tahiti." In Symbolism of Paul Gauguin. University of California Press, 2007. http://dx.doi.org/10.1525/9780520930988-013.

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"2. Budding Symbolism." In Symbolism of Paul Gauguin. University of California Press, 2007. http://dx.doi.org/10.1525/9780520930988-004.

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Conference papers on the topic "Gauguin, Paul"

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Asmus, John F. "Paul Gauguin in Brittany." In SPIE Europe Optical Metrology, edited by Luca Pezzati and Renzo Salimbeni. SPIE, 2009. http://dx.doi.org/10.1117/12.824646.

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Asmus, John F. "Paul Gauguin and the origin of art nouveau." In Optical Science, Engineering and Instrumentation '97, edited by Andrew G. Tescher. SPIE, 1997. http://dx.doi.org/10.1117/12.292775.

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Cossairt, Oliver, Xiang Huang, Nathan Matsuda, et al. "Surface shape studies of the art of Paul Gauguin." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7419447.

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Yang, Yuyuan, and Mei Yang. "The Effect Of Paul Gauguin’s Life On His Works In Different Stages." In Proceedings of the 2nd Symposium on Health and Education 2019 (SOHE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/sohe-19.2019.3.

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