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Journal articles on the topic 'Gauguin'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 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

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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3

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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4

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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5

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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6

Kupfer, Joseph. "GAUGUIN, AGAIN." Pacific Philosophical Quarterly 73, no. 1 (March 1992): 63–72. http://dx.doi.org/10.1111/j.1468-0114.1992.tb00328.x.

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7

Bhanot, Sunil. "Exhibition: Gauguin Portraits." British Journal of General Practice 69, no. 689 (November 28, 2019): 619. http://dx.doi.org/10.3399/bjgp19x706829.

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8

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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9

Hudgins, Andrew. "Gauguin: The Yellow Christ." Hudson Review 43, no. 1 (1990): 64. http://dx.doi.org/10.2307/3852333.

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10

Fell, Jill. "Gauguin: Maker of Myth." Modern & Contemporary France 19, no. 4 (November 2011): 532–33. http://dx.doi.org/10.1080/09639489.2011.622543.

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11

de Maris, Ron. "A Tear for Gauguin." Iowa Review 38, no. 1 (April 2008): 114. http://dx.doi.org/10.17077/0021-065x.6423.

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12

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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13

Morowitz, Laura. "From Gauguin toGilligan's Island." Journal of Popular Film and Television 26, no. 1 (January 1998): 2–10. http://dx.doi.org/10.1080/01956059809602768.

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14

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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15

MAHARANI, Farah Anindya, and Myrna Laksman-Huntley. "Relationship as seen through letter-writing style in Van Gogh’s letters to Gauguin." FRANCISOLA 7, no. 1 (December 24, 2022): 20–33. http://dx.doi.org/10.17509/francisola.v7i1.53536.

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RÉSUMÉ. Van Gogh a tenté de former une communauté avec Gauguin. Cet article parle de leur relation dans des lettres de VG. Le choix des mots, le style de langue, la structure des lettres et les fonctions syntaxiques utilisées dans les phrases de ses lettres ont été extraits des six lettres de VG et analysés à l'aide d'une méthode qualitative, l'approche de l’ACD et de la théorie des fonctions syntaxiques françaises de Le Querler. L’amitié respectueuse est construite par la politesse mais pas complètement formelle. Cette relation asymétrique se reflète à travers la diction contrastée, le choix des pronoms et des salutations, l'utilisation d'un langage implicite et aussi par l'expansion de la structure de la phrase pour être plus poli. Grâce au style d'écriture de lettres de VG, leur relation évolue d'une transaction à quelque chose de plus personnel. Les différences d'ancienneté et de réputation sont souvent devenues un facteur influençant les relations et la communication. Mots-clés : analyse critique du discours, Gauguin, style de langage, fonction syntaxique, van GoghABSTRACT. Van Gogh, the Dutch post-impressionist painter, tried to form a community with Gaugin, the French post-impressionist painter, printmaker and sculptor. This article studied VG’s relationship with Gauguin in letters written by VG. The words choice, language style, letter structure, and syntactic functions used in the sentences of his letters were extracted from VG’s six surviving letters and analyzed using a qualitative method, CDA approach and Le Querler’s French syntactic functions theory. We discover that VG tried to build a respectful friendship through politeness but not completely in a formal language style. This asymmetrical relationship reflects through the contrasting diction, choice of pronouns and greetings, the use of implicit language and also by expansion in the sentence structure to be more polite. Through VG’s letter-writing style, their relationship evolves from being transactional into something more personal. Seniority and reputational differences often became a factor influencing relationships and communication.Keywords: critical discourse analysis, Gauguin, language style, syntactic function, van Gogh

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16

O'Reilly, Révérend Père. "Un musée Gauguin à Tahiti." Museum International (Edition Francaise) 20, no. 2 (April 24, 2009): 77–89. http://dx.doi.org/10.1111/j.1755-5825.1967.tb01728.x.

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17

Duran, Jane. "Gauguin and a Critical Fallacy." Journal of Aesthetic Education 28, no. 4 (1994): 81. http://dx.doi.org/10.2307/3333366.

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18

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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19

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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20

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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21

De Szyszlo, Fernando. "Gauguin: Lima como un paraíso perdido." Letras (Lima) 70, no. 97-98 (December 23, 1999): 47–50. http://dx.doi.org/10.30920/letras.70.97-98.5.

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Tengo una remarcable memoria visual y recuerdo nuestra casa de esa época y tantas cosas... el Palacio de la Presidencia, la iglesia cuya cúpula había sido colocada posteriormente y que era esculpida en madera. Veo todavía a nuestra pequeña negrita, la que debía, según la regla, llevar la pequeña alfombra sobre la que arrodillábamos para rezar. Veo también nuestro doméstico chino que sabía tan bien planchar la ropa.

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22

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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23

TYSON, JANET STILES. "GAUGUIN AND THE ORIGINS OF SYMBOLISM." Art Book 13, no. 2 (May 2006): 21–22. http://dx.doi.org/10.1111/j.1467-8357.2006.00659_6.x.

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24

McMahon, Gary. "Van Gogh & Gauguin with Gunbelts." Film International 15, no. 3 (September 1, 2017): 23–55. http://dx.doi.org/10.1386/fiin.15.3.23_1.

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25

Clarke, David. "Gauguin, Linguistic Opacity, and Cultural Difference." Source: Notes in the History of Art 38, no. 2 (January 2019): 97–107. http://dx.doi.org/10.1086/702772.

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26

Hajj, Ralph. "Gauguin: The Oscillating Structure of Disguise." Contagion: Journal of Violence, Mimesis, and Culture 8, no. 1 (2001): 167–84. http://dx.doi.org/10.1353/ctn.2001.0001.

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27

Mendjisky, Serge, and Bernard George. "Gauguin, a Man Ever in Revolt." Neurosurgery 49, no. 6 (December 1, 2001): 1479–80. http://dx.doi.org/10.1097/00006123-200112000-00039.

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28

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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29

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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30

Ünlü, Ali, and Waqas Ahmed Malik. "Interactive Glyph Graphics of Multivariate Data in Psychometrics." Methodology 7, no. 4 (August 1, 2011): 134–44. http://dx.doi.org/10.1027/1614-2241/a000031.

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Gauguin (Grouping And Using Glyphs Uncovering Individual Nuances) is statistical data visualization software for the interactive graphical exploration of multivariate data using glyph representations. Glyphs are defined as geometric shapes scaled by the values of multivariate data. Each glyph represents one high-dimensional data point or the prototype (average) of a group or cluster of data points. This paper reviews the capabilities, functionality, and interactive properties of this software package. Key features of Gauguin are illustrated with data from the Programme for International Student Assessment.

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31

Sharman, Russell Leigh. "Gauguin, Negrin and the Art of Anthropology." Visual Anthropology Review 17, no. 1 (March 2001): 2–20. http://dx.doi.org/10.1525/var.2001.17.1.2.

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32

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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33

Taouma, Lisa. "‘Gauguin is dead … there is no paradise’." Journal of Intercultural Studies 25, no. 1 (April 2004): 35–46. http://dx.doi.org/10.1080/07256860410001687009.

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34

Waldroup, Heather. "Musée Gauguin Tahiti: Indigenous Places, Colonial Heritage." International Journal of Heritage Studies 14, no. 6 (November 2008): 489–505. http://dx.doi.org/10.1080/13527250802503258.

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35

Syndikus, Candida, and Ronald Pickvance. "Gauguin und die Schule von Pont-Aven." Zeitschrift für Kunstgeschichte 61, no. 1 (1998): 118. http://dx.doi.org/10.2307/1482931.

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36

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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37

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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38

Guiglion, Guillaume. "The RAdial Velocity Experiment: preparing the 6th Data Release chemical abundances with GAUGUIN." Proceedings of the International Astronomical Union 13, S334 (July 2017): 302–3. http://dx.doi.org/10.1017/s1743921317009632.

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AbstractIn the context of the Radial Velocity Experiment (RAVE, Steinmetz et al. 2006), we present chemical abundances derived with the pipeline GAUGUIN. Based of 520 701 RAVE stars with medium resolution (R~7 500) spectra and stellar atmospheric parameters of the fifth Data Release, the analysis is performed around the infrared Ca-triple domain for 6 chemical elements: Mg, Ni, Si, Ti, Fe and Al. We discuss here the reliability of the chemical abundances provided by GAUGUIN, and the implications for the future Data Release 6 of the RAVE Survey. We also present elemental abundance patterns of Milky Way components based of kinematical criteria.

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39

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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40

Gilroy, James P. "Gauguin: Maker of Myth ed. by Belinda Thomson." French Review 85, no. 6 (2012): 1186–87. http://dx.doi.org/10.1353/tfr.2012.0184.

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41

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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42

Welsh, Robert P. "Gauguin et l'auberge de Marie Henry au Pouldu." Revue de l'Art 86, no. 1 (1989): 35–43. http://dx.doi.org/10.3406/rvart.1989.347803.

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43

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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44

Duran, Jane. "Education and Feminist Aesthetics: Gauguin and the Exotic." Journal of Aesthetic Education 43, no. 4 (2009): 88–95. http://dx.doi.org/10.1353/jae.0.0064.

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45

Horner, David Sanford. "Moral luck and computer ethics: Gauguin in cyberspace." Ethics and Information Technology 12, no. 4 (July 15, 2010): 299–312. http://dx.doi.org/10.1007/s10676-010-9248-0.

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46

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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47

DURAN, JANE. "Education and Feminist Aesthetics: Gauguin and the Exotic." Journal of Aesthetic Education 43, no. 4 (December 1, 2009): 88–95. http://dx.doi.org/10.2307/25656249.

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48

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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49

Follonier, Jonas. "Aux Marquises avec Brel, Gauguin… et Joseph Deiss." Le Regard Libre N° 70, no. 1 (January 1, 2021): 32–33. http://dx.doi.org/10.3917/regli.070.0032.

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Welsh, Robert. "Gauguin et l’auberge de Marie Henry au Pouldu." Revue de l'art N° 86, no. 4 (April 1, 1989): 35–43. http://dx.doi.org/10.3917/rda.086.0035.

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