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Journal articles on the topic 'Gauguin, Paul'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

Iswahyudi. "Paul Gauguin and the Quest for World Spirituality." Britain International of Linguistics Arts and Education (BIoLAE) Journal 3, no. 1 (April 24, 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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3

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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4

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

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5

Koepsell, Thomas D. "Paul Gauguin (1848-1903)." Archives of Pediatrics & Adolescent Medicine 158, no. 4 (April 1, 2004): 306. http://dx.doi.org/10.1001/archpedi.158.4.306.

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6

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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7

Maleuvre, Didier. "The Trial of Paul Gauguin." Mosaic: an interdisciplinary critical journal 51, no. 1 (March 2018): 197–213. http://dx.doi.org/10.1353/mos.2018.0012.

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8

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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9

Herbertson, Gavin. "‘Our Creole Painter’: Derek Walcott's Early Intermediality." Comparative Critical Studies 21, no. 1 (February 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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10

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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11

Collins, Emily B. "The Brooding Woman by Paul Gauguin." Archives of Facial Plastic Surgery 13, no. 4 (July 1, 2011): 292. http://dx.doi.org/10.1001/archfacial.2011.49.

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12

Hargrove, June, and Jeanne Bouniort. "Les Contes barbares de Paul Gauguin." Revue de l'art N° 169, no. 3 (March 1, 2010): 25–37. http://dx.doi.org/10.3917/rda.169.0025.

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13

Gagnon, Claude. "Éloge machiste de la putain dans la peinture Ève bretonne de Paul Gauguin." Anthropologie et Sociétés 10, no. 3 (September 10, 2003): 107–22. http://dx.doi.org/10.7202/006367ar.

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Résumé Éloge machiste de la putain dans la peinture Eve bretonne de Paul Gauguin Cet article s'arrête à la représentation du rapport femme-homme dans la production picturale des artistes symbolistes de la fin du XIXe siècle en Europe, et plus spécifiquement dans la peinture Eve bretonne (1889) de Paul Gauguin. Les peintres symbolistes ont représenté le féminin selon les trois champs sémantiques de la Vierge, de la Mère et/ou de la Putain. L'analyse portera surtout sur celui de la Putain dans le tableau de Gauguin. L'article procède au déchiffrement sémantique des signes iconiques de ces œuvres par l'analyse du contexte de production, et fait ressurgir le politique qui sous-tend cette représentation hiérarchique des sexes où le féminin est totalement réifié et où le masculin règne en Martre de cet objet.

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14

Pollack, Maika. "Odilon Redon, Paul Gauguin, and Primitivist Color." Art Bulletin 102, no. 3 (July 2, 2020): 77–103. http://dx.doi.org/10.1080/00043079.2020.1711488.

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15

Salcman, Michael. "Upaupa Schneklud, by Paul Gauguin (1848–1903)." Neurosurgery 49, no. 6 (December 1, 2001): 1477–78. http://dx.doi.org/10.1097/00006123-200112000-00038.

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16

Vargas Pacheco, Cristina, and Naïl Muniglia. "“Viajar hacia lo diverso con Paul Gauguin y Flora Tristán”: una experiencia de mediación cultural y circulación artística en el norte peruano (2018-2019)." Illapa Mana Tukukuq, no. 17 (December 25, 2020): 162–75. http://dx.doi.org/10.31381/illapa.v0i17.3480.

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En 2018, el Ministerio de Cultura del Perú lanzó una convocatoria nacional bajo el nombre de Estímulos Económicos de la Cultura, buscando motivar la generación de propuestas en diferentes ámbitos de las artes plásticas, musicales y escénicas. Uno de los proyectos que se vio favorecido fue “Viajar hacia lo diverso con Paul Gauguin y Flora Tristán: proyecto para la dinamización, circulación y mediación de la creación artística en la región norte”, impulsado desde la Alianza Francesa de Piura. En el presente artículo se narra esta experiencia, que tuvo como eje de concepción y acción, la mediación cultural y, particularmente, artística, partiendo del recuento teórico de su surgimiento en un contexto de democratización cultural. Palabras clave: mediación cultural, Paul Gauguin, Flora Tristán, Alianza Francesa de Piura, norte peruano, estímulos económicos de la cultura. AbstractIn 2018 the Peruvian Ministry of Culture launched the Estímulos Económicos de la Cultura, an open national call intended to receive and support project ideas in the fields of music, scenic and visual arts. One of the beneficiaries of the grant has been the project “Travelling towards the diversity with Paul Gauguin and Flora Tristán: project to foster the dynamization, circulation, and mediation of artistic creation in the northern region of Peru”, promoted by the Alliance Française of Piura. The present article aims to explain the whole experience process whose core of conception and action is the cultural and artistic mediation, departing from the theoretical paradigm of its emergence in a context of cultural democratization.Keywords: cultural mediation, Paul Gauguin, Flora Tristán, North of Peru, state economic support, Alliance Française of Piura.

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17

Fortoul, Teresa I. "El sueño de regresar a lo primitivo y encontrarse con la realidad: Paul Gauguin." Revista de la Facultad de Medicina 64, no. 6 (November 10, 2021): 55–59. http://dx.doi.org/10.22201/fm.24484865e.2021.64.6.07.

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Gauguin's extraordinary life has always intrigued his admirers, at least as much as his art, and sometimes more. Global in scope, his life was shaped by noble, if ruthless and often unnecessary, gestures of sacrifice and defiance for the sake of art. No less willing to hurt others than himself to fulfill his destiny as an artist. He tried everything, lived what he wanted and died in the place he loved the most. Eugène Henri-Paul Gauguin returned to art what society had taken from it by making it routine, without imagination, without spontaneity.

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18

Knapp, James F. "Primitivism and Empire: John Synge and Paul Gauguin." Comparative Literature 41, no. 1 (1989): 53. http://dx.doi.org/10.2307/1770679.

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19

Enniss, Stephen. "Sherwood Anderson and Paul Gauguin: A Forgotten Review." Studies in American Fiction 18, no. 1 (1990): 118–21. http://dx.doi.org/10.1353/saf.1990.0001.

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20

Kalinina, K. B., and V. A. Korobov. "Paul Gauguin, “Tahitian Pastorals”: Study of Painting Materials." Nanobiotechnology Reports 17, no. 5 (October 2022): 666–75. http://dx.doi.org/10.1134/s2635167622050068.

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21

Wilhelm, Randall. "Seeing Paul Gauguin in Philip Roth’s “Goodbye, Columbus”." Philip Roth Studies 10, no. 2 (September 2014): 47–60. http://dx.doi.org/10.1353/prs.2014.a554256.

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22

Bulver, Kathryn M. "Le vertige danois de Paul Gauguin by Bertrand Leclair." French Review 88, no. 3 (2015): 260–61. http://dx.doi.org/10.1353/tfr.2015.0404.

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23

Bounoure, Gilles. "Le paradis autour de Paul Gauguin de Viviane Fayaud." Journal de la société des océanistes, no. 134 (June 30, 2012): 160–63. http://dx.doi.org/10.4000/jso.6679.

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24

Nicole, Robert. "Le paradis autour de Paul Gauguin. By Viviane Fayaud." Journal of Pacific History 47, no. 2 (June 2012): 238–39. http://dx.doi.org/10.1080/00223344.2012.670090.

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25

Pingeot, Anne. "Paul Gauguin (Paris, 1848–Atuona, 1903): Inventor of the Readymade?" Getty Research Journal 13 (January 1, 2021): 157–76. http://dx.doi.org/10.1086/713434.

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26

Marples, Kirsten A. "Savage Tales: The Writings of Paul Gauguin by Linda Goddard." Modern Language Review 115, no. 3 (2020): 727–29. http://dx.doi.org/10.1353/mlr.2020.0195.

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27

Cieutat, Michel. "La caméra-pinceau d’Alain Resnais : Van Gogh, Guernica, Paul Gauguin." Ligeia N° 77-80, no. 2 (2007): 244. http://dx.doi.org/10.3917/lige.077.0244.

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28

Mathews, Timothy. "Savage Tales: The Writings of Paul Gauguin. By Linda Goddard." French Studies 74, no. 4 (October 1, 2020): 636. http://dx.doi.org/10.1093/fs/knaa195.

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29

Hobbs, Richard. "Paul Gauguin and Charles Morice, Noa Noa; with Paul Gauguin, Manuscrit tiré du ‘Livre des métiers’ de Vehbi-Zumbul Zadi. Edited by Claire Moran." French Studies 72, no. 3 (June 19, 2018): 450–51. http://dx.doi.org/10.1093/fs/kny132.

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30

Screech, Matthew. "Gauguin and Van Gogh Meet the Ninth Art." European Comic Art 13, no. 1 (March 1, 2020): 21–44. http://dx.doi.org/10.3167/eca.2020.130103.

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This article analyses how a late twentieth-century/early twenty-first-century development in bandes dessinées, which combines historical novels with biographies, expresses paradoxical attitudes towards mythologies surrounding Paul Gauguin and Vincent Van Gogh. Firstly, I demonstrate that the paradox stems from a simultaneous desire for and suspicion of master narratives, identified as intrinsic to postmodernism by Linda Hutcheon. Then I establish how eight graphic novels perpetuate pre-existing mythological master narratives about Gauguin and Van Gogh. Nevertheless, those mythologies simultaneously arouse scepticism: myths do not express exemplary universal truths; myths are artificial and fictionalised constructs whose status in reality is dubious. The albums convey tension between desire and suspicion regarding myths by a variety of devices. These include sequenced panels, circular plots, unreliable witnesses, fictional insertions, parodies and mock realism.

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31

Mančić, Aleksandra. "Paul Gauguin i Victor Segalen: estetyka odmienności pomiędzy literaturą a malarstwem." Porównania 19 (June 15, 2016): 41–57. http://dx.doi.org/10.14746/p.2016.19.10268.

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Nowoczesna refleksja dotycząca inności wiedzie przez różnorodne kultury (transkulturalnie), sztuki oraz dyscypliny (transdyscyplinarnie) i podejmuje zagadnienia, które w niniejszym artykule ujęte zostały w ramy problematyki podróży i przekładu (translacji), od twórczości malarza Paula Gauguina do dzieł pisarza Victora Segalena i ich artystycznych poszukiwań oraz przemyśleń na temat egzotyzmu i sztuki prymitywnej, będących odpowiedzią na niwelowanie różnic w wyniku praktyk kolonizacyjnych.

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32

Powers, E. D. "From Eternity To Here: Paul Gauguin and The Word Made Flesh." Oxford Art Journal 25, no. 2 (January 1, 2002): 87–106. http://dx.doi.org/10.1093/oxartj/25.2.87.

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33

Treagus, Mandy, and Madeleine Seys. "Looking Back at Samoa: History, Memory, and the Figure of Mourning in Yuki Kihara’s Where Do We Come From? What Are We? Where Are We Going?" Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 86–109. http://dx.doi.org/10.1163/23523085-00302005.

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Samoan Japanese artist Yuki Kihara’s photographic series Where Do We Come From? What Are We? Where Are We Going? (2013) focuses on sites of current and historical significance in Samoa. In taking on the title of French artist Paul Gauguin’s 1897 work, Kihara signals her desire to engage with the history of representation of the Pacific in Western art through dialogue with Gauguin and the history of colonial photography. Casting herself as a version of Thomas Andrew’s Samoan Half Caste (1886), a figure in Victorian mourning dress, she directs the viewer’s gaze and invites all to share her acts of mourning at these sites. The literal meaning of the title also indicates how the series engages with history via the Samoan concept of vā, collapsing time in space, to produce an understanding of both the country’s present and the potential future such history invites.

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34

Stevenson, Lesley, and Belinda Thomson. "VISION OF THE SERMONBY PAUL GAUGUIN: AN EXPLORATION OF MAKING AND MEANING." Studies in Conservation 51, no. 3 (January 2006): 34–40. http://dx.doi.org/10.1179/sic.2006.51.3.34.

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35

Lefevre, Tate. "Le paradis autour de Paul Gauguin by Viviane Fayaud (review)." Contemporary Pacific 25, no. 1 (2013): 203–5. http://dx.doi.org/10.1353/cp.2013.0002.

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Potter, Polyxeni. "Paul Gauguin (1848–1903). I Raro te Oviri (Under the Pandanus) (1891)." Emerging Infectious Diseases 10, no. 4 (April 2004): 766–67. http://dx.doi.org/10.3201/eid1004.ac1004.

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GAL, NISSIM. "‘The Fall of God into Meaning’: Painting Time in Jacob Wrestling with the Angel." Theatre Research International 34, no. 2 (July 2009): 187–93. http://dx.doi.org/10.1017/s0307883309004544.

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The future as an event cannot be analysed solely through its simple relation to the known or recognized world, but through its unexpected dimensions: its being beyond history and the way it performs commandments and ethical obligations. Two visual interpretations of the biblical story of Jacob Wrestling with the Angel, by Eugène Delacroix and Paul Gauguin, are at the centre of my discussion. The main theoretical tool for discussing the issues of time and the future is the philosophical writing of Emmanuel Levinas.

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38

Cornec, Gaëlle. "Paul Gauguin : un paysage dans les collections du musée d’Art moderne André Malraux." Journal de la société des océanistes, no. 156 (June 30, 2023): 55–62. http://dx.doi.org/10.4000/jso.14598.

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Walkiewicz, Barbara. "Entre texte et image : réflexions sur la traduction des titres de tableaux de Paul Gauguin." Studia Romanica Posnaniensia 48, no. 4 (December 22, 2021): 91–106. http://dx.doi.org/10.14746/strop.2021.484.007.

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The aim of this article is to analyse the translation strategies used to translate Paul Gauguin’s painting titles from Tahitian and French to Polish. We will analyse the titles that the artist painted directly on the canvases by making them invariant just like the image itself. The translations analysed come from works on Gauguin’s art and Impressionism, published in Polish since the 1960s of the 20th century.

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40

Ziemendorff, Stefan. "Redescubrimiento del sitio arqueológico de la momia que inspiró a Gauguin y Munch." Investigaciones Sociales 22, no. 40 (April 1, 2019): 73–83. http://dx.doi.org/10.15381/is.v22i40.15887.

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En artículos anteriores se mostró la gran influencia de una momia chachapoya en el arte moderno, específicamente sobre las obras de Paul Gauguin y de Edvard Munch, así por ejemplo en su famoso cuadro El Grito y, inspiradas en éstos, de forma directa o indirecta, en muchísimas obras de arte a nivel mundial desde hace ya más de un siglo. Por la importancia de la momia en esta parte de la historia del arte, es de sumo interés recopilar datos acerca de su procedencia e historia, en específico sobre el lugar y las circunstancias bajo las cuales fue hallada y llegó a París. Además, la momia es identificada como la de un guerrero de la cultura chachapoya.

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41

Malmon, Isabelle. "Noirs instincts. Autour d’ Olympia de Manet et de Manao tupapau de Gauguin." Psy Cause N° 79, no. 4 (October 3, 2021): 42–52. http://dx.doi.org/10.3917/psca.079.0043.

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Une analyse comparative de deux toiles du XIX e siècle, Olympia d’Edouard Manet et Manao tupapau de Paul Gauguin, fait ressortir des motifs communs : une femme nue au premier plan, et, dans la marge obscure, un second personnage caractérisé par sa couleur foncée. En ces temps de gynophobie exacerbée et de racisme primaire, ce protagoniste ténébreux est une « ombre au tableau » : il nous semble mettre en exergue la frayeur causée chez les hommes par l’objet féminin, sa sexualité énigmatique et ses velléités d’indépendance. Il incarne la noirceur de la femme, dont les charmes ensorcelants suscitent chez le sujet masculin de sombres pulsions charnelles, inavouables dans le contexte de puritanisme forcené de la fin du XIX e siècle.

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42

Chorba, Terence, and John Jereb. "Confusion in the Genesis of Art and Disease: Charles Laval, Paul Gauguin, and Tuberculosis." Emerging Infectious Diseases 26, no. 3 (March 2020): 634–35. http://dx.doi.org/10.3201/eid2603.ac2603.

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43

Fayaud, Viviane. "Dess(e)ins oubliés : Charles Giraud, prédécesseur de Paul Gauguin à Tahiti (1843-1847)." Outre-mers 97, no. 368 (2010): 311–32. http://dx.doi.org/10.3406/outre.2010.4509.

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44

Caranfa, Angelo. "Socrates, Augustine, and Paul Gauguin on the Reciprocity between Speech and Silence in Education." Journal of Philosophy of Education 47, no. 4 (October 10, 2013): 577–604. http://dx.doi.org/10.1111/1467-9752.12042.

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45

Goddard, Linda. "The Symbolism of Paul Gauguin: Erotica, Exotica, and the Great Dilemmas of Humanity (review)." Modernism/modernity 15, no. 1 (2008): 189–91. http://dx.doi.org/10.1353/mod.2008.0003.

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Hajj, Ralph. "Savage Strategies: Parisian Avant-garde and 'Savage' Brittany in the Definition of Paul Gauguin." Third Text 16, no. 2 (June 2002): 167–81. http://dx.doi.org/10.1080/09528820210138317.

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Schuessler, Michael. "Lo real-maravilloso y la tradición europea: La utopía como catalizador discursivo en los textos de Colón, Gaugin y Carpentier." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 2 (January 15, 1997): 143–58. http://dx.doi.org/10.22201/ffyl.poligrafias.1997.2.1600.

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El autor en este ensayo se propone estudiar una faceta de la génesis literaria de lo real-maravilloso según fue concebido y desarrollado por Carpentier. Para comprender profundamente los orígenes de su proyecto literario es útil explorar la relación entre los periodos históricos del renacimiento y la edad moderna, íntimamente relacionados por la utilización del concepto o posibilidad de la utopía como un catalizador del discurso creativo. El «descubrimiento» de América por Cristóbal Colón en 1492 y el redescubrimiento de las culturas «primitivas» de Oceanía en 1891 por Paul Gauguin constituyen las dos manifestaciones culturales de estos periodos históricos que sustentan el enfoque de este estudio.

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Staszak, Jean-François. "L'exote, l'oviri, l'exilé : les singulières identités géographiques de Paul Gauguin // The exote, the oviri and the exiled : Gauguin's singular geographical identitites." Annales de Géographie 113, no. 638 (2004): 363–84. http://dx.doi.org/10.3406/geo.2004.21629.

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Russell, Oneika. "Constructing Paradise in the Western Imagination:." Cultural and Pedagogical Inquiry 11, no. 3 (January 6, 2020): 117–33. http://dx.doi.org/10.18733/cpi29508.

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Enhanced with a few of my original paintings, this essay explores various notions of a tropical paradise in the Western imagination. Secondly, it traces some of the implications for the respective people and country. The work draws on my personal experiences, research and study in several Western arts institutions as well as in former, European colonies in the tropics. At the discussion’s centre, are experiences and pursuits of Paul Gauguin, a noted seeker of paradise? The essay further explores how colonial perceptions and perspectives have influenced and continue to impact the socio-economic and cultural production of ‘tourism products’ in small island developing states (SIDS), such as Jamaica and some other countries in the Caribbean.

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Atkin, Will. "Oceanic metamorphoses: Easter Island, Paul Gauguin and “magic art” through the eyes of the surrealists." Journal of Postcolonial Writing 54, no. 5 (September 3, 2018): 670–89. http://dx.doi.org/10.1080/17449855.2018.1526473.

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