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echo ancient rubbings, worn frescos and cave paintings. Gauguin's technical progress from monotyping to the oil transfers is quite noticeable, advancing from small sketches to ambitiously large, highly finished sheets. With these transfers he created depth and texture by printing multiple layers onto the same sheet, beginning with graphite pencil and black ink for delineation, before moving to blue crayon to reinforce line and add shading. He would often complete the image with a wash of oiled-down olive or brown ink. The practice consumed
Gauguin until his death, fueling his imagination and conception of new subjects and themes for his paintings. This collection was also sent to Vollard who remained unimpressed.
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3533:, bringing it into the modern era. He started the series shortly after returning from Tahiti, eager to reclaim a leadership position within the avant-garde and share pictures based on his French Polynesia excursion. These woodcuts were shown at his unsuccessful 1893 show at Paul Durand-Ruel's, and most were directly related to paintings of his in which he had revised the original composition. They were shown again at a small show in his studio in 1894, where he garnered rare critical praise for his exceptional painterly and sculptural effects. Gauguin's emerging preference for the woodcut was not only a natural extension of his wood
2445:, arriving 16 September 1901. This was the administrative capital of the island group, but considerably less developed than Papeete although there was an efficient and regular steamer service between the two. There was a military doctor but no hospital. The doctor was relocated to Papeete the following February and thereafter Gauguin had to rely on the island's two health care workers, the Vietnamese exile Nguyen Van Cam (Ky Dong), who had settled on the island but had no formal medical training, and the Protestant pastor Paul Vernier, who had studied medicine in addition to theology. Both of these were to become close friends.
2693:, criticizing Gauguin for encouraging natives to withdraw their children from school as well as encouraging settlers to withhold payment of their taxes. As luck would have it, the post of administrator had recently been filled by François Picquenot, an old friend of Gauguin's from Tahiti and essentially sympathetic to him. Picquenot advised Charpillet not to take any action over the schools issue, since Gauguin had the law on his side, but authorised Charpillet to seize goods from Gauguin in lieu of payment of taxes if all else failed. Possibly prompted by loneliness, and at times unable to paint, Gauguin took to writing.
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hopes of enlarging her share of the
Tristan Moscoso family fortune. This never materialized; but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguin's maternal grandmother helped to lay the foundations for the 1848 revolutionary movements. Placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul "idolized his grandmother, and kept copies of her books with him to the end of his life".
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the beginning of
February, Gauguin wrote to the administrator, François Picquenot, alleging corruption by one of Claverie's subordinates. Picquenot investigated the allegations but could not substantiate them. Claverie responded by filing a charge against Gauguin of libeling a gendarme. He was subsequently fined 500 francs and sentenced to three months' imprisonment by the local magistrate on 27 March 1903. Gauguin immediately filed an appeal in Papeete and set about raising the funds to travel to Papeete to hear his appeal.
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was of its time yet timeless. An artist could also confound conventional notions of beauty, he demonstrated, by harnessing his demons to the dark gods (not necessarily
Tahitian ones) and tapping a new source of divine energy. If in later years Picasso played down his debt to Gauguin, there is no doubt that between 1905 and 1907 he felt a very close kinship with this other Paul, who prided himself on Spanish genes inherited from his Peruvian grandmother. Had not Picasso signed himself 'Paul' in Gauguin's honor.
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get work as a translator and French teacher. Gauguin initially found it difficult to re-enter the art world in Paris and spent his first winter back in real poverty, obliged to take a series of menial jobs. Clovis eventually fell ill and was sent to a boarding school, Gauguin's sister Marie providing the funds. During this first year, Gauguin produced very little art. He exhibited 19 paintings and a wood relief at the eighth (and last) Impressionist exhibition in May 1886.
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2626:, a painter friend of Gauguin's from their Pont-Aven days who had died a few years previously, while the middle figure is again androgynous, identified by some as Haapuani. The Buddha-like pose and the lotus blossoms suggests to Elizabeth Childs that the picture is a meditation on the perpetual cycle of life and the possibility of rebirth. As these paintings reached Vollard after Gauguin's sudden death, nothing is known about Gauguin's intentions in their execution.
2493:, the house drew appreciative crowds in the evenings from the natives, who came to stare at the pictures and party half the night away. Needless to say, all this did not endear Gauguin to the bishop, still less when Gauguin erected two sculptures he placed at the foot of his steps lampooning the bishop and a servant reputed to be the bishop's mistress, and yet still less when Gauguin later attacked the unpopular missionary school system. The sculpture of the bishop,
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6300:, p. 230, Mathews records an anecdote that a Catholic priest asked him to remove a provocative sculpture of a nude woman from his grounds. Not only did Gauguin refuse, but he threatened to sue the priest. In a note (n. 71) Mathews casts doubt on the source of the story because she can't find a record for the priest named as Michel BĂ©chu, but the priest in question would appear to be LĂ©onard Pierre BĂ©chu, originally entered as "Michel" in cathedral records.
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2468:(a tradition suppressed by the missionaries). Tioka was a deacon in Vernier's congregation and became Gauguin's neighbour after the cyclone when Gauguin gifted him a corner of his plot. The ground floor was open-air and used for dining and living, while the top floor was used for sleeping and as his studio. The door to the top floor was decorated with a polychrome wood-carved lintel and jambs that still survive in museums. The lintel named the house as
2249:, which he regarded as his masterpiece and final artistic testament (in a letter to Monfreid he explained that he tried to kill himself after finishing it). The painting was exhibited at Vollard's gallery in November the following year, along with eight thematically related paintings he had completed by July. This was his first major exhibition in Paris since his Durand-Ruel show in 1893 and it was a decided success, critics praising his new serenity.
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3382:) is drained from the paint and the remaining sludge of pigment is mixed with turpentine. He may have used a similar technique in preparing his monotypes, using paper instead of metal, as it would absorb oil giving the final images a matte appearance he desired. He also proofed some of his existing drawings with the aid of glass, copying an underneath image onto the glass surface with watercolour or gouache for printing. Gauguin's
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1560:. After visiting his wife and children in Copenhagen, for what turned out to be the last time, Gauguin set sail for Tahiti on 1 April 1891, promising to return a rich man and make a fresh start. His avowed intent was to escape European civilization and "everything that is artificial and conventional". Nevertheless, he took care to take with him a collection of visual stimuli in the form of photographs, drawings and prints.
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1157:. During this time, Gauguin penned letters to his wife, Mette, lamenting the arduous conditions: "I have to dig⊠from five-thirty in the morning to six in the evening, under the tropical sun and rain," he wrote. "At night I am devoured by mosquitoes." Meanwhile, Laval had been earning money by drawing portraits of canal officials, work which Gauguin detested since only portraits done in a lewd manner would sell.
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2665:. His sight was also beginning to fail him, as attested by the spectacles he wears in his last known self-portrait. This was actually a portrait commenced by his friend Ky Dong that he completed himself, thus accounting for its uncharacteristic style. It shows a man tired and aged, yet not entirely defeated. For a while he considered returning to Europe, to Spain, to get treatment. Monfreid advised him:
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4847:, p. 4, Aline and her two small children consequently found themselves in a tropical paradise where every material need was met and every sense was indulgedâŠAline and her two children were looked after by a Negro nursemaid and a Chinese manservant; and the racial diversity of Peru was matched by a rich extravagance of dress and by the brightly painted buildings everywhere in the city..
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effects led to the loss of much valuable information about his later years. Thomson notes that the auction inventory of his effects (some of which were burned as pornography) revealed a life that was not as impoverished or primitive as he had liked to maintain. Mette
Gauguin in due course received the proceeds of the auction, some 4,000 francs. One of the paintings auctioned in Papeete was
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unfavourably compared with van Gogh's) were sufficiently encouraging for
Gauguin to contemplate returning with some seventy others he had completed. He had in any case largely run out of funds, depending on a state grant for a free passage home. In addition he had some health problems diagnosed as heart problems by the local doctor, which Mathews suggests may have been the early signs of
2743:), on the Roman Catholic Church, adding some twenty pages containing insights gleaned from his dealings with Bishop Martin. He sent this text to Bishop Martin, who responded by sending him an illustrated history of the Church. Gauguin returned the book with critical remarks he later published in his autobiographical reminisces. He next prepared a witty and well-documented essay,
2206:. Thomson observes a progression in complexity. Mathews notes a return to Christian symbolism that would have endeared him to the colonists of the time, now anxious to preserve what was left of native culture by stressing the universality of religious principles. In these paintings, Gauguin was addressing an audience amongst his fellow colonists in Papeete, not his former
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symphonies and harmonies. They have no counterparts at all in reality, in the vulgar sense of that word; they do not give direct expression to any idea, their only purpose is to stimulate the imaginationâjust as music does without the aid of ideas or picturesâsimply by that mysterious affinity which exists between certain arrangements of colours and lines and our minds.
6062:, p. 180, Mathews notes that Gauguin certainly emphasised the youth of the girl for dramatic effect. Nevertheless it is likely Teha'amana was in her early teens, as young girls at the time were commonly offered as native wives to Westerners. There is no further record of Teha'amana's baby. Mathews estimates it was probably adopted in keeping with Tahitian custom.
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4871:, p. 4, âŠivil war in Peru resulted in Don Pio's family losing political power." And " to France anticipating grandfather Gauguin's death, life with Clovis's bachelor brother in Orleans, a small legacy from the Gauguins, and a large annuity from Don Pio, which prevented Aline from ever receiving. Eventually she established herself as a dressmaker in ParisâŠ.
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706:, the Impressionists' primary art dealer, was especially affected by the crash, and for a period of time stopped buying pictures from painters such as Gauguin. Gauguin's earnings contracted sharply, and over the next two years he slowly formulated his plans to become a full-time artist. The following two summers, he painted with Pissarro and occasionally
3233:, in Paris. Durrio had several of Gauguin's works on hand because he was a friend of Gauguin's and an unpaid agent of his work. Durrio tried to help his poverty-stricken friend in Tahiti by promoting his oeuvre in Paris. After they met, Durrio introduced Picasso to Gauguin's stoneware, helped Picasso make some ceramic pieces, and gave Picasso a first
2649:. Petit, presumably suitably forewarned, refused to see Gauguin to deliver the settlers' protests (Gauguin their spokesman) about the invidious taxation system, which saw most revenue from the Marquesas spent in Papeete. Gauguin responded in April by refusing to pay his taxes and encouraging the settlers, traders and planters, to do likewise.
2640:, arrived in the Marquesas to make an inspection. He was accompanied by Ădouard Charlier as head of the judicial system. Charlier was an amateur painter who had been befriended by Gauguin when he first arrived as magistrate at Papeete in 1895. However their relationship had turned to enmity when Charlier refused to prosecute Gauguin's then
2162:(indeed was a shareholder), by then France's foremost critical journal, and kept up an active correspondence with fellow artists, dealers, critics, and patrons in Paris. During his year in Papeete and thereafter, he played an increasing role in local politics, contributing abrasively to a local journal opposed to the colonial government,
4799:, p. 3, Followed by police spies, she travelled France addressing meetings of the urban proletariat whom she called upon to unite. Physically exhausted by such activities, she collapsed and died in Bordeaux in November 1844, less than four years before the revolution of 1848 toward which she had made such a signal contribution..
1997:, contended (1920) that the work was "literally expelled" from the exhibition, while Vollard said (1937) that the work was admitted only when Chaplet threatened to withdraw all his own work. In any case, Gauguin took the opportunity to increase his public exposure by writing an outraged letter on the state of modern ceramics to
1069:(1889), often cited as a quintessential Cloisonnist work, the image was reduced to areas of pure colour separated by heavy black outlines. In such works Gauguin paid little attention to classical perspective and boldly eliminated subtle gradations of colour, thereby dispensing with the two most characteristic principles of post-
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who, in a way, has already gone from this world. Your enemies â and like all who upset the mediocrities you have many enemies â are silent; but they dare not attack you, do not even think of it. You are so far away. You should not return... You are already as unassailable as all the great dead; you already belong to the
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2533:), and a cat. The house itself, although in the center of the town, was set amongst trees and secluded from view. The partying ceased and he began a period of productive work, sending twenty canvases to Vollard the following April. He had thought he would find new motifs in the Marquesas, writing to Monfreid:
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Charpillet was replaced that
December by another gendarme, Jean-Paul Claverie, from Tahiti, much less well disposed to Gauguin and who in fact had fined him in his earliest Mataiea days for public indecency, having caught him bathing naked in a local stream following complaints from the missionaries there.
4787:, p. 3, They moved to Paris where Flora was born in 1803: the liaison was a stable one, but Don Mariano died suddenly before bringing himself to marry his mistress. This catapulted from luxury to penury, and the rest of her miserable life was spent pleading the claims for herself and her daughter..
2222:, never healed properly. Then painful and debilitating sores that restricted his movement began erupting up and down his legs. These were treated with arsenic. Gauguin blamed the tropical climate and described the sores as "eczema", but his biographers agree this must have been the progress of syphilis.
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In 2014, forensic examination of four teeth found in a glass jar in a well near
Gauguin's house threw into question the conventional belief that Gauguin had suffered from syphilis. DNA examination established that the teeth were almost certainly Gauguin's, but no traces were found of the mercury that
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atoll, and for a period of three months the island was left without mail or supplies. When mail service resumed, Gauguin penned an angry attack on
Governor Petit in an open letter, complaining amongst other things about the way they had been abandoned following the shipwreck. The letter was published
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realized a record $ 30,965,000 for a
Gauguin sculpture at a Christie's New York 2015 sale. These were among at least eight sculptures that adorned the house according to a posthumous inventory, most of which are lost today. Together they represented a very public attack on the hypocrisy of the church
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He bought a plot of land in the center of the town from the Catholic mission, having first ingratiated himself with the local bishop by attending mass regularly. This bishop was Monseigneur Joseph Martin, initially well disposed to Gauguin because he was aware that Gauguin had sided with the Catholic
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Despite the moderate success of his November exhibition, he subsequently lost Durand-Ruel's patronage in circumstances that are not clear. Mathews characterises this as a tragedy for Gauguin's career. Amongst other things he lost the chance of an introduction to the American market. The start of 1894
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had dealings with Portier. Theo purchased three of Gauguin's paintings for 900 francs and arranged to have them hung at Goupil's, thus introducing Gauguin to wealthy clients. This arrangement with Goupil's continued past Theo's death in 1891. At the same time, Vincent and Gauguin became close friends
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Gauguin held a profound contempt for Panama, and at one point was arrested in Panama City for urinating in public. Marched across town at gunpoint, Gauguin was ordered to pay a fine of four francs. After discovering that land on Taboga was priced far beyond reach (and after falling deathly ill on the
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Gloria Groom, in the 1988 National Gallery of Art exhibition catalogue (p. 387), asserts that at the end of April the court in Papeete fined Gauguin 500 francs and sentenced him to one month in prison, citing Charles ChassĂ©, "Les DĂ©mĂȘlĂ©s de Gauguin avec les gendarmes et l'Ă©vĂȘque des Ăźles Marquises",
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in close proximity to achieve a muted effect. Shortly after this, he also made his breakthroughs in non-representational colour, creating canvases that had an independent existence and vitality all their own. This gap between surface reality and himself displeased Pissarro and quickly led to the end
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Earlier, he had sent for his pastor, Paul Vernier, complaining of fainting fits. They had chatted together, and Vernier had left, believing him in a stable condition. However, Gauguin's neighbour, Tioka, found him dead at 11 o'clock, confirming the fact in the traditional Marquesan way by biting his
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Gauguin built a two-floor house on his plot, sturdy enough to survive a later cyclone which washed away most other dwellings in the town. He was helped in the task by the two best Marquesan carpenters on the island, one of them called Tioka, tattooed from head to toe in the traditional Marquesan way
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In April 1897, he received word that his favorite daughter Aline had died from pneumonia. This was also the month he learned he had to vacate his house because its land had been sold. He took out a bank loan to build a much more extravagant wooden house with beautiful views of the mountains and sea.
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near, or at times in, Papeete. During this time he was able to support himself with an increasingly steady stream of sales and the support of friends and well-wishers, though there was a period of time 1898â1899 when he felt compelled to take a desk job in Papeete, of which there is not much record.
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woodcuts, perhaps even serving as a source of inspiration for them. His techniques remained innovative and it was an apt technique for him as it did not require elaborate equipment, such as a printing press. Despite often being a source of practice for related paintings, sculptures or woodcuts, his
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were no less innovative, even to the avant-garde artists responsible for the woodcut revival happening at that time. Instead of incising his blocks with the intent of making a detailed illustration, Gauguin initially chiseled his blocks in a manner similar to wood sculpture, followed by finer tools
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which was prominently displayed in 1906, was to stimulate Picasso's interest in both sculpture and ceramics, while the woodcuts would reinforce his interest in print-making, though it was the element of the primitive in all of them which most conditioned the direction that Picasso's art would take.
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was an art movement of late 19th-century painting and sculpture, characterized by exaggerated body proportions, animal totems, geometric designs, and stark contrasts. The first artist to systematically use these effects and achieve broad public success was Paul Gauguin. The European cultural elite,
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Pau'ura, in Puna'auia, gave birth to their son Emile. It is not known why he painted the smaller copy. It was sold for 150 francs to a French naval officer, Commandant Cochin, who said that Governor Petit himself had bid up to 135 francs for the painting. It was sold at Sotheby's for US$ 39,208,000
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At the beginning of 1903, Gauguin engaged in a campaign designed to expose the incompetence of the island's gendarmes, in particular Jean-Paul Claverie, for taking the side of the natives directly in a case involving the alleged drunkenness of a group of them. Claverie, however, escaped censure. At
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Gauguin chose to paint landscapes, still lifes, and figure studies at this time, with an eye to Vollard's clientele, avoiding the primitive and lost paradise themes of his Tahiti paintings. But there is a significant trio of pictures from this last period that suggest deeper concerns. The first two
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Gauguin had nurtured his plan of settling in the Marquesas ever since seeing a collection of intricately carved Marquesan bowls and weapons in Papeete during his first months in Tahiti. However, he found a society that, as in Tahiti, had lost its cultural identity. Of all the Pacific island groups,
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By this time it had become clear that he and his wife Mette were irrevocably separated. Although there had been hopes of a reconciliation, they had quickly quarrelled over money matters and neither visited the other. Gauguin initially refused to share any part of a 13,000-franc inheritance from his
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His middle-class family and marriage fell apart after 11 years when Gauguin was driven to paint full-time. He returned to Paris in 1885, after his wife and her family asked him to leave because he had renounced the values they shared. Gauguin's last physical contact with them was in 1891, and Mette
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In 1899 he started his radical experiment: oil transfer drawings. Much like his watercolour monotype technique, it was a hybrid of drawing and printmaking. The transfers were the grand culmination of his quest for an aesthetic of primordial suggestion, which seems to be relayed in his results that
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The 1906 exhibition of Gauguin's work left Picasso more than ever in this artist's thrall. Gauguin demonstrated the most disparate types of artânot to speak of elements from metaphysics, ethnology, symbolism, the Bible, classical myths, and much else besidesâcould be combined into a synthesis that
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Word of Gauguin's death did not reach France (to Monfreid) until 23 August 1903. In the absence of a will, his less valuable effects were auctioned in Atuona while his letters, manuscripts, and paintings were auctioned in Papeete on 5 September 1903. Mathews notes that this speedy dispersal of his
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one such girl, Vaeoho (also called Marie-Rose), the 14-year-old daughter of a native couple who lived in an adjoining valley six miles distant. This can scarcely have been a pleasant task for her as Gauguin's sores were by then extremely noxious and required daily dressing. Nevertheless, she lived
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years old. He fathered two children with her, of which a daughter died in infancy. The other, a boy, she raised herself. His descendants still inhabited Tahiti at the time of Mathews' biography. Pahura refused to accompany Gauguin to the Marquesas away from her family in Puna'auia (earlier she had
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Georges Chaudet, Gauguin's Paris dealer, died in the fall of 1899. Vollard had been buying Gauguin's paintings through Chaudet and now made an agreement with Gauguin directly. The agreement provided Gauguin a regular monthly advance of 300 francs against a guaranteed purchase of at least 25 unseen
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in Brittany. He was attracted in the first place because it was cheap to live there. However, he found himself an unexpected success with the young art students who flocked there in the summer. His naturally pugilistic temperament (he was both an accomplished boxer and fencer) was no impediment in
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After a brief period in Italy, spent in the small towns of San Salvo and Ururi, Gauguin returned to Paris in June 1885, accompanied by his six-year-old son Clovis. The other children remained with Mette in Copenhagen, where they had the support of family and friends while Mette herself was able to
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family held powerful positions in Peru. Nonetheless, Don Mariano's unexpected death plunged his mistress and daughter Flora into poverty. When Flora's marriage with André failed, she petitioned for and obtained a small monetary settlement from her father's Peruvian relatives. She sailed to Peru in
339:, where he experienced a privileged childhood that left a lasting impression on him. Later, financial struggles led them back to France, where Gauguin received formal education. Initially working as a stockbroker, Gauguin started painting in his spare time, his interest in art kindled by visits to
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With the artist Emile Bernard, Gauguin invented a method of rendering pictoral space that uses large patches of flat color and thick line; these techniques influenced early 20th-century artists. Gauguin's works include Vision after the Sermon: Jacob Wrestling with the Angel (1888), Mahana no atua
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He worked in wood throughout his career, particularly during his most prolific periods, and is known for having achieved radical carving results before doing so with painting. Even in his earliest shows, Gauguin often included wood sculpture in his display, from which he built his reputation as a
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Gauguin had several other children by his mistresses: Germaine (born 1891) with Juliette Huais (1866â1955); Ămile Marae a Tai (born 1899) with Pau'ura; and a daughter (born 1902) with Vaeoho (Marie-Rose). There is some speculation that the Belgian artist, Germaine Chardon, was Gauguin's daughter.
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in Papeete, complaining about his own local gendarme Charpillet's excesses in making prisoners labor for him. Danielsson notes that, while these and similar complaints were well-founded, the motivation for them all was wounded vanity and simple animosity. As it happened, the relatively supportive
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edition was planned to include his woodcuts, but he withheld permission to print them on smooth paper as the publishers wished. In truth he had grown uninterested in the venture with Morice and never saw a copy, declining an offer of one hundred complimentary copies. Nevertheless, its publication
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In returning you will risk damaging that process of incubation which is taking place in the public's appreciation of you. At present you are a unique and legendary artist, sending to us from the remote South Seas disconcerting and inimitable works which are the definitive creations of a great man
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promulgated throughout the French empire. The schools continued with difficulty as private institutions, but these difficulties were compounded when Gauguin established that attendance at any given school was only compulsory within a catchment area of some two and a half miles radius. This led to
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In all, Gauguin sent nine of his paintings to Monfreid in Paris. These were eventually exhibited in Copenhagen in a joint exhibition with the late Vincent van Gogh. Reports that they had been well received (though in fact only two of the Tahitian paintings were sold and his earlier paintings were
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where if a citizen became broke or stranded on a French colony, the state would pay for the boat ride back. Upon leaving Panama, protected by the repatriation policy, Gauguin and Laval decided to disembark at the Martinique port of St. Pierre. Scholars disagree on whether Gauguin intentionally or
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Every feature in my paintings is carefully considered and calculated in advance. Just as in a musical composition, if you like. My simple object, which I take from daily life or from nature, is merely a pretext, which helps me by the means of a definite arrangement of lines and colours to create
1761:. By the end of July 1893, Gauguin had decided to leave Tahiti and he would never see Teha'amana or their child again even after returning to the island several years later. A digital catalogue raisonné of the paintings from this period was released by the Wildenstein Plattner Institute in 2021.
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I think in the Marquesas, where it is easy to find models (a thing that is growing more and more difficult in Tahiti), and with new country to explore â with new and more savage subject matter in brief â that I shall do beautiful things. Here my imagination has begun to cool, and then, too, the
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Gauguin finished 11 known paintings during his stay in Martinique, many of which seem to be derived from his hut. His letters to Schuffenecker express an excitement about the exotic location and natives represented in his paintings. Gauguin asserted that four of his paintings on the island were
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of their relationship. His human figures at this time are also a reminder of his love affair with Japanese prints, particularly gravitating to the naivety of their figures and compositional austerity as an influence on his primitive manifesto. For that very reason, Gauguin was also inspired by
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In 1850, Clovis Gauguin departed for Peru with his wife Aline and young children in hopes of continuing his journalistic career under the auspices of his wife's South American relations. He died of a heart attack en route, and Aline arrived in Peru as a widow with the 18-month-old Paul and his
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Gauguin prized oil transfers for the way they transformed the quality of drawn line. His process, nearly alchemical in nature, had elements of chance by which unexpected marks and textures regularly arose, something that fascinated him. In metamorphosing a drawing into a print, Gauguin made a
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Gauguin also used elaborate formal decoration and colouring in patterns of abstraction, attempting to harmonize man and nature. His depictions of the natives in their natural environment are frequently evident of serenity and a self-contained sustainability. This complemented one of Gauguin's
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figure was placed on his grave, as he had indicated was his wish. Ironically, his nearest neighbor in the cemetery is Bishop Martin, his grave surmounted by a large white cross. Vernier wrote an account of Gauguin's last days and burial, reproduced in O'Brien's edition of Gauguin's letters to
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throughout Europe. His father, a 34-year-old liberal journalist from a family of entrepreneurs in Orléans, was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguin's mother was the 22-year-old daughter of André Chazal, an engraver, and
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itself, for which he drew a salary, and he continued as editor until he left Tahiti in September 1901. The paper under his editorship was noted for its scurrilous attacks on the governor and officialdom in general, but was not in fact a champion of native causes, although perceived as such
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was Gauguin's most admired contemporary artist and a great influence on his work from the beginning, with his figures and interiors as well as a carved and painted medallion of singer Valérie Roumi. He had a deep reverence for Degas' artistic dignity and tact. It was Gauguin's healthiest,
923:, Gauguin felt that traditional European painting had become too imitative and lacked symbolic depth. By contrast, the art of Africa and Asia seemed to him full of mystic symbolism and vigour. There was a vogue in Europe at the time for the art of other cultures, especially that of Japan (
540:, would shortly assume the presidency of Peru. To the age of six, Paul enjoyed a privileged upbringing, attended by nursemaids and servants. He retained a vivid memory of that period of his childhood which instilled "indelible impressions of Peru that haunted him the rest of his life".
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uncle Isidore which he had come into shortly after returning. Mette was eventually gifted 1,500 francs, but she was outraged and from that point on kept in contact with him only through Schuffeneckerâdoubly galling for Gauguin, as his friend thus knew the true extent of his betrayal.
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At around the same time, Gauguin's health began to deteriorate again, revisited by the same familiar constellation of symptoms involving pain in the legs, heart palpitations, and general debility. The pain in his injured ankle grew insupportable and in July he was obliged to order a
1727:, originally conceived as commentary on his paintings and describing his experiences in Tahiti. Modern critics have suggested that the contents of the book were in part fantasized and plagiarized. In it he revealed that he had at this time taken a 13-year-old girl as native wife or
2430:). An 18th-century population of some 80,000 had declined to just 4,000. Catholic missionaries held sway and, in their effort to control drunkenness and promiscuity, obliged all native children to attend missionary schools into their teens. French colonial rule was enforced by a
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student artists at Pont-Aven, anxious to free themselves from the conservatism of their academies, and Gauguin consciously imitated them in his sketches of Breton girls. These sketches were later worked up into paintings back in his Paris studio. The most important of these is
4835:, p. 4, âŠAline was well received by her Spanish grandfather's younger brother, Don Pio Tristan Moscoso. His position in Peruvian society is indicated by the fact that, only a few months after Aline's arrival, Don Pio's son-in-law, Echenique, became President of Peru..
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in 1854. Aline returned to France with her children, leaving Paul with his paternal grandfather, Guillaume Gauguin, in Orléans. Deprived by the Peruvian Tristan Moscoso clan of a generous annuity arranged by her granduncle, Aline settled in Paris to work as a dressmaker.
2689:. It was at this time that his quarrel with Bishop Martin over missionary schools reached its height. The local gendarme, Désiré Charpillet, at first friendly to Gauguin, wrote a report to the administrator of the island group, who resided on the neighbouring island of
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in the South of France. Gauguin's relationship with Vincent proved fraught. Their relationship deteriorated and eventually Gauguin decided to leave. On the evening of 23 December 1888, according to a much later account of Gauguin's, Vincent confronted Gauguin with a
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better than the rest. The works as a whole are brightly coloured, loosely painted, outdoor figural scenes. Even though his time on the island was short, it surely was influential. He recycled some of his figures and sketches in later paintings, such as the motif in
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3063:, the child of Gauguin's young Tahitian mistress, Pau'ura, died only a few days after her birth on Christmas Day 1896. His son, Ămile Gauguin, worked as a construction engineer in the U.S. and is buried in Lemon Bay Historical Cemetery, in Florida. Another son,
1681:. Because these accounts contained no illustrations and the Tahitian models had in any case long disappeared, he could give free rein to his imagination. He executed some twenty paintings and a dozen woodcarvings over the next year. The first of these was
3599:, despite not compromising to his request for salable, conformed work. Vollard was unsatisfied and made no effort to sell them. Gauguin's series is starkly unified with black and white aesthetic and may have intended the prints to be similar to a set of
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In July 1902, Vaeoho, by then seven months pregnant, left Gauguin to return home to her neighbouring valley of Hekeani to have her baby amongst family and friends. She gave birth in September but did not return. Gauguin did not subsequently take another
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3804:, the film follows the painter from the time he returns to Paris in 1893 after a two-year stay in Tahiti and must confront his wife, his children and his former lover. It ends when he returns to Tahiti two years later. Coincidentally, Sutherland's son
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In an 1888 letter to Schuffenecker, Gauguin explains the enormous step he had taken away from Impressionism and that he was now intent on capturing the soul of nature, the ancient truths and character of its scenery and inhabitants. Gauguin wrote:
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But he overextended himself in so doing, and by the end of the year faced the real prospect of his bank foreclosing on him. Failing health and pressing debts brought him to the brink of despair. At the end of the year he completed his monumental
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Pau'ura for a number of trivial offences, allegedly housebreaking and theft, she had committed at Puna'auia while Gauguin was away working in Papeete. Gauguin had gone so far as to publish an open letter attacking Charlier about the affair in
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paintings a year at 200 francs each, and in addition Vollard undertook to provide him with his art materials. There were some initial problems on both sides, but Gauguin was finally able to realise his long cherished plan of resettling in the
718:, where they could live more cheaply and where he thought he had discerned opportunities when visiting Pissarro there the previous summer. However, the venture proved unsuccessful, and by the end of the year Mette and the children moved to
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The Japanese styled Gauguin Museum, opposite the Botanical Gardens of Papeari in Papeari, Tahiti, contains some exhibits, documents, photographs, reproductions and original sketches and block prints of Gauguin and Tahitians. In 2003, the
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For the first year at least he produced no paintings, informing Monfreid that he proposed henceforth to concentrate on sculpture. Few of his wooden carvings from this period survive, most of them collected by Monfreid. Thomson cites
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In October 1883, he wrote to Pissarro saying that he had decided to make his living from painting at all costs and asked for his help, which Pissarro at first readily provided. The following January, Gauguin moved with his family to
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Gauguin later claimed to have been instrumental in influencing Vincent van Gogh's development as a painter at Arles. While Vincent did briefly experiment with Gauguin's theory of "painting from the imagination" in paintings such as
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monotype innovation offers a distinctly ethereal aesthetic; ghostly afterimages that may express his desire to convey the immemorial truths of nature. His next major woodcut and monotype project was not until 1898â99, known as the
2783:, that November in Papeete. Petit had in fact followed an independent and pro-native policy, to the disappointment of the Roman Catholic Party, and the newspaper was preparing an attack on him. Gauguin also sent the letter to the
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Paul Gauguin's maternal grandmother, Flora Tristan, was the illegitimate daughter of ThérÚse Laisnay and Don Mariano de Tristan Moscoso. Details of ThérÚse's family background are not known; Don Mariano came from an aristocratic
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Gauguin outlived three of his children; his favorite daughter Aline died of pneumonia, his son Clovis died of a blood infection following a hip operation, and a daughter, whose birth was portrayed in Gauguin's painting of 1896
560:. He spent three years at the school. At the age of 14, he entered the Loriol Institute in Paris, a naval preparatory school, before returning to Orléans to take his final year at the Lycée Jeanne D'Arc. Gauguin signed on as a
5741:, p. 125, Thomson notes that Gauguin was alert to the potential for self-publicity. Camille Pissarro, no admirer of Gauguin, later scathingly observed that Gauguin had set out to "get himself elected ⊠as a man of genius.
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568:. Three years later, he joined the French navy in which he served for two years. His mother died on 7 July 1867, but he did not learn of it for several months until a letter from his sister Marie caught up with him in India.
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exhibitions held in 1881 and 1882 (earlier, a sculpture of his son Ămile had been the only sculpture in the 4th Impressionist Exhibition of 1879). His paintings received dismissive reviews, although several of them, such as
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4751:, p. 3, Flora Tristan, author and social reformerâŠ" and "Theirs had been an ill-matched, short-lived marriage; it culminated in Chazal attempting to murder his wife and being sentenced to twenty years' imprisonment..
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in an affluent area ten miles east of Papeete, settled by wealthy families, in which he installed a large studio, sparing no expense. Jules Agostini, an acquaintance of Gauguin's and an accomplished amateur photographer,
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Gauguin set out for Tahiti again on 28 June 1895. His return is characterised by Thomson as an essentially negative one, his disillusionment with the Paris art scene compounded by two attacks on him in the same issue of
3267:(literally meaning 'savage'), the gruesome phallic figure of the Tahitian goddess of life and death that was intended for Gauguin's grave, exhibited in the 1906 retrospective exhibition that even more directly led to
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887:("Young Breton Boys Bathing"), introducing a theme he returned to each time he visited Pont-Aven, is clearly indebted to Degas in its design and bold use of pure colour. The naive drawings of the English illustrator
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His paintings from that period, characterized by vivid colors and Symbolist themes, would prove highly successful among the European viewers for their exploration of the relationships between people, nature, and the
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At first, the 'negro hut' in which they lived suited him, and he enjoyed watching people in their daily activities. However, the weather in the summer was hot and the hut leaked in the rain. Gauguin also suffered
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and develops the thesis that Gauguin's primitivism proved inseparable from his ethnic prejudices and actually contributed to the anti-modernist rejection of modernism, turning it into an ideological weapon again
3514:, which also appeared in the Cafe des Arts show of 1889. Gauguin was not hindered by his printing inexperience, and made a number of provocative and unorthodox choices, such as a zinc plate instead of limestone (
3603:, in which they may be laid out in any order to create multiple panoramic landscapes. This activity of arranging and rearranging was similar to his own process of repurposing his images and motifs, as well as a
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to create detail and tonality within his bold contours. Many of his tools and techniques were considered experimental. This methodology and use of space ran parallel to his painting of flat, decorative reliefs.
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He sent the manuscript to Fontainas for editing, but the rights reverted to Mette after Gauguin's death, and it was not published until 1918 (in a facsimile edition); the American translation appearing in 1921.
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representations of Tahiti and its people have been a subject of controversy and renewed scholarly attention. His depictions of Polynesian women have been described as "racial fantasy forged from a position of
2810:. His memoir proved to be a fragmented collection of observations about life in Polynesia, his own life, and comments on literature and paintings. He included in it attacks on subjects as diverse as the local
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tendency. He printed the work on tissue-thin Japanese paper and the multiple proofs of gray and black could be arranged on top of one another, each transparency of colour showing through to produce a rich,
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900:, which shows a marked departure from his earlier Impressionist style as well as incorporating something of the naive quality of Caldecott's illustration, exaggerating features to the point of caricature.
667:. Gauguin lived at 15, rue la BruyÚre. Nearby were the cafés frequented by the Impressionists. Gauguin also visited galleries frequently and purchased work by emerging artists. He formed a friendship with
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50 years later he was delighted when Cooper and I told him that we had come upon this sculpture in a collection that also included the original plaster of his cubist head. Has it been a revelation, like
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His health took a decided turn for the worse and he was hospitalised several times for a variety of ailments. While he was in France, he had his ankle shattered in a drunken brawl on a seaside visit to
4735:, p. 3-4, Like many other European intellectuals, Clovis was forced by the failure of the 1848 revolutions to look to the new world . There was no future for a liberal journalist in the France of
3036:. The original house stood empty for a few years, the door still carrying Gauguin's carved lintel. This was eventually recovered, four of the five pieces held at the Musée D'Orsay and the fifth at the
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enameling technique. Gauguin was very appreciative of Bernard's art and of his daring with the employment of a style which suited Gauguin in his quest to express the essence of the objects in his art.
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That summer, he executed some pastel drawings of nude figures in the manner of Pissarro and those by Degas exhibited at the 1886 eighth Impressionist exhibition. He mainly painted landscapes such as
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believes that Gauguin's encounter with exotic sensuality in Tahiti, so evident in the painting, was by far the most important aspect of his sojourn there. He often rendered titles of his works in
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and visited him on Sundays to paint in his garden. Pissarro introduced him to various other artists. In 1877 Gauguin "moved downmarket and across the river to the poorer, newer, urban sprawls" of
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1957:. He returned to Pont-Aven for the summer. In February 1895 he attempted an auction of his paintings at HĂŽtel Drouot in Paris, similar to the one of 1891, but this was not a success. The dealer
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and raised in Tahiti by Pau'ura, was brought to Chicago in 1963 by the French journalist Josette Giraud and was an artist in his own right, his descendants still living in Tahiti as of 2001.
2806:), which he completed over the next two months. The title was supposed to reflect his experiences before and after coming to Tahiti and as tribute to his own grandmother's unpublished memoir
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He exhibited with the Impressionists in the early 1880s, but soon began developing his distinct style, characterized by a bolder use of color and less traditional subject matter. His work in
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acquired this little-known work (exhibited only once since 1906) it had never been recognized as the masterpiece it is, let alone recognized for its relevance to the works leading up to the
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remaining uncertain in their location. For Anna Szech, what distinguishes them is their repose and melancholy, albeit containing elements of disquiet. Thus, in the second of two versions of
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Gauguin is a central and charismatic character in R.w. Meekâs award winning novels, The Dream Collector, Book I âSabrine & Sigmund Freudâ and Book II âSabrine & Vincent van Gogh.â
3216:. Picasso's paintings of massive figures from 1906 were directly influenced by Gauguin's sculpture, painting, and his writing as well. The power evoked by Gauguin's work led directly to
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salesman. It was not a success: He could not speak Danish, and the Danes did not want French tarpaulins. Mette became the chief breadwinner, giving French lessons to trainee diplomats.
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2564:, gathering clouds and foamy breakers suggest an impending storm while the two distant figures on grey horses echo similar figures in other paintings that are taken to symbolise death.
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observes that he must have been disappointed in his vision of a primitive idyll. He was unable to afford the pleasure-seeking life-style in Papeete, and an early attempt at a portrait,
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the following day and Gauguin left Arles. They never saw each other again, but they continued to correspond, and in 1890 Gauguin went so far as to propose they form an artist studio in
4775:, p. 3, The Tristan Moscoso family belonged to the old Aragonese nobility, and was among the early Spanish settlers in Peru, where they had become powerful and extremely wealthy..
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3212:'s paintings. In the autumn of 1906, Picasso made paintings of oversized nude women and monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in
1191:, a French colony. His thoughts and experiences during this time are recorded in his letters to his wife and his artist friend Emile Schuffenecker. At the time, France had a policy of
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1630:, a friend of Schuffenecker, who was to become Gauguin's devoted champion in Tahiti. By late summer 1892 this painting was being displayed at Goupil's gallery in Paris. Art historian
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Les Demoiselles contains vestiges of CĂ©zanne, El Greco, Gauguin and Ingres, among others, with the addition of conceptual aspects of primitive art properly represented with geometry.
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gallery in November 1894 was a moderate success, selling at quite elevated prices 11 of the 40 paintings exhibited. He set up an apartment at 6 rue Vercingétorix, on the edge of the
2190:, a wooden cylinder half a metre (20") tall featuring a curious hybrid of religious motifs. The cylinder may have been inspired by similar symbolic carvings in Brittany, such as at
3845:(1889), with an estimated value of between âŹ10m and âŹ30m (ÂŁ8.3m to ÂŁ24.8m), which had been stolen in London in 1970, was discovered in Italy. The painting, together with a work by
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edition (the manuscript itself is now lodged in the Louvre museum). Sections of it (including his account of Teha'amana) had previously been published without woodcuts in 1897 in
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in February 1891, along with other events such as a banquet and a benefit concert, provided the necessary funds. The auction had been greatly helped by a flattering review from
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elements, Tahiti will become comprehensible and charming. My Brittany pictures are now rose-water because of Tahiti; Tahiti will become eau de Cologne because of the Marquesas.
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2486:). The walls were decorated with, amongst other things, his prized collection of forty-five pornographic photographs he had purchased in Port Said on his way out from France.
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Gauguin was unable to continue his work in ceramics in the islands for the simple reason that suitable clay was not available. Similarly, without access to a printing press (
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Don't copy nature too literally. Art is an abstraction. Derive it from nature as you dream in nature's presence, and think more about the act of creation than the outcome.
3410:. He sought out a bare emotional purity of his subjects conveyed in a straightforward way, emphasizing major forms and upright lines to clearly define shape and contour.
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to do the same, there was never a public support for Gauguin more unwavering than from Degas. Gauguin also purchased work from Degas in the early to mid-1870s and his own
1208:. While in Martinique, he produced between 10 and 20 works (12 being the most common estimate), traveled widely and apparently came into contact with a small community of
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During this time Gauguin maintained a relationship with Pahura (Pau'ura) a Tai, the daughter of neighbours in Puna'auia. Gauguin began this relationship when Pau'ura was
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Life in Copenhagen proved equally difficult, and their marriage grew strained. At Mette's urging, supported by her family, Gauguin returned to Paris the following year.
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4711:, p. 3, Clovis came from Orléans, and there is nothing in the Gauguin family history of market gardeners and small businessmen to suggest an artistic temperament..
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1357:(on Vincent's part it amounted to something akin to adulation) and they corresponded together on art, a correspondence that was instrumental in Gauguin formulating his
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1522:, testifying to his enduring effect on Gauguin. Degas later purchased two paintings at Gauguin's 1895 auction to raise funds for his final trip to Tahiti. These were
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2253:, however, received mixed reviews and Vollard had difficulty selling it. He eventually sold it in 1901 for 2,500 francs (about $ 10,000 in year 2000 US dollars) to
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was used to treat syphilis at the time, suggesting either that Gauguin did not suffer from syphilis or that he was not being treated for it. In 2007, four rotten
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1149:, where he stated he desired to live "on fish and fruit and for nothing⊠without anxiety for the day or for the morrow." By the time he reached the port city of
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the socially relaxed seaside resort. He was remembered during that period as much for his outlandish appearance as for his art. Amongst these new associates was
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some 60 years earlier, championing exactly the sort of primitive society for which Gauguin yearned. However, Gauguin was apparently unaware of Melville's book.
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497:, an author and activist in early socialist movements. Their union ended when André assaulted his wife Flora and was sentenced to prison for attempted murder.
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1739:, called Tehura in the travelogue, who was pregnant by him by the end of summer 1892. Teha'amana was the subject of several of Gauguin's paintings, including
1638:, some of these titles however were sometimes very misconjugated to a point where they were almost hard to understand by native Tahitian speakers themselves.
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for the first time, were fascinated, intrigued, and educated by the newness, wildness, and the stark power embodied in the art of those faraway places. Like
2592:, married to Tohotau. Szech notes that the white colour of Tohotau's dress is a symbol of power and death in Polynesian culture, the sitter doing duty for a
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1581:, some 45 kilometres (28 mi) from Papeete, installing himself in a native-style bamboo hut. Here he executed paintings depicting Tahitian life such as
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3518:), wide margins and large sheets of yellow poster paper. The result was vivid to the point of garish, but foreshadows his more elaborate experiments with
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By November he had settled into his new home with Vaeoho, a cook (Kahui), two other servants (nephews of Tioka), his dog, Pegau (a play on his initials
2290:. He spent his final months in Tahiti living in considerable comfort, as attested by the liberality with which he entertained his friends at that time.
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3048:, which may have been Gauguin's, were found by archaeologists at the bottom of a well that he built on the island of Hiva Oa, on the Marquese Islands.
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3678:. Gauguin paintings are rarely offered for sale, their prices reaching tens of millions of US dollars in the saleroom when they are offered. His 1892
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Gauguin's initial artistic guidance was from Pissarro, but the relationship left more of a mark personally than stylistically. Gauguin's masters were
3176:, 1986), discusses Gauguin's years in Tahiti and the struggles of his survival as seen through correspondence with the art dealer Vollard and others.
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visited her in 1917, she could offer him no useful memory of Gauguin and chided him for visiting her without bringing money from Gauguin's family.
4763:, p. 3, ⊠ThĂ©rĂšse Laisnay, whose background nothing whatever is knownâŠwhether she was an aristocrat or adventuress, it is impossible to say..
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Gauguin, Paul. The letters of Paul Gauguin to Georges Daniel de Monfreid, translated by Ruth Pielkovo; foreword by Frederick O'Brien. archive.org
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had done much to restore his reputation. Fontainas, however, replied that he dared not publish it. It was not subsequently published until 1951.
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injections. However he was sufficiently concerned by the habit he was developing to turn his syringe set over to a neighbour, relying instead on
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woman, Mette-Sophie Gad (1850â1920). Over the next ten years, they had five children: Ămile (1874â1955); Aline (1877â1897); Clovis (1879â1900);
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of his work late in his career and assisted in organizing two important posthumous exhibitions in Paris. His work was influential on the French
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At this time Gauguin was very weak and in great pain and resorted once again to using morphine. He died suddenly on the morning of 8 May 1903.
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sculpture? Picasso's shrug was grudgingly affirmative. He was always loath to admit Gauguin's role in setting him on the road to Primitivism.
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In fact, his Marquesas work for the most part can only be distinguished from his Tahiti work by experts or by their dates, paintings such as
1938:, dressing in Polynesian costume, and conducted a public affair with a young woman still in her teens, "half Indian, half Malayan", known as
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His health further deteriorated in December to the extent that he was scarcely able to paint. He began an autobiographical memoir he called
2132:. Mathews remarks that his isolation in Paris had become so bitter that he had no choice but to try to reclaim his place in Tahiti society.
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as art forms. While only moderately successful during his lifetime, Gauguin has since been recognized for his experimental use of color and
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that Gauguin had prepared along with woodcuts during his interlude in France was finally published with Morice's poems in book form in the
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1377:. Later the same evening, he cut off his own left ear. He wrapped the severed tissue in newspaper and handed it to a woman who worked at a
1224:, which is replicated on his fans. Rural and indigenous populations remained a popular subject in Gauguin's work after he left the island.
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4723:, p. 3, His father, Clovis Gauguin, was a 34-year-old journalist, who worked for a liberal newspaper that was soon to be suppressed..
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By mid 1895 attempts to raise funds for Gauguin's return to Tahiti had failed, and he began accepting charity from friends. In June 1895
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by local craftsmen. When he resumed painting, it was to continue his long-standing series of sexually charged nudes in paintings such as
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He arrived in September 1895 and was to spend the next six years living, for the most part, an apparently comfortable life as an artist-
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Most of these paintings were earlier work from Rouen or Copenhagen and there was nothing really novel in the few new ones, although his
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2158:, so was in a position to travel daily to Papeete to participate in the social life of the colony should he wish. He subscribed to the
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is death, savagery, wildness. Oviri stands over a dead she-wolf, while crushing the life out of her cub." Perhaps, as Gauguin wrote to
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There is no direct evidence that Gauguin suffered from syphilis and none that he infected any of his lovers, as is sometimes asserted.
3164:, recognized as a foremost authority on late 19th-century art, wrote a series of books about the Post-Impressionist period, including
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The Art Institute of Chicago (2005). "Examination: Gauguin's Day of the God (Mahana No Atua)". Art Explorer. Retrieved 10 April 2012.
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722:, Gauguin following shortly after in November 1884, bringing with him his art collection, which subsequently remained in Copenhagen.
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Childs, Elizabeth C. (6 October 2011). "Chapter 6: Remixing Paradise â Gauguin and the Marquesas Islands". In Greub, Suzanne (ed.).
3229:, Picasso, as early as 1902, became a fan of Gauguin's work when he met and befriended the expatriate Spanish sculptor and ceramist
579:; Gauguin was 23. He became a successful Parisian businessman and remained one for the next 11 years. In 1879 he was earning 30,000
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7605:"Gauguin le rapin : ""Racontars de rapin, suivi de Art de Papou & chant de Rossignoou"" et ""La lutte pour les peintres"""
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may have been Haapuani, an accomplished dancer as well as a feared magician, who was a close friend of Gauguin's and, according to
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Gauguin, like some of his contemporaries such as Degas and Toulouse-Lautrec, employed a technique for painting on canvas known as
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immigrants; a contact that would later influence his art through the incorporation of Indian symbols. During his stay, the writer
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Gauguin's Durand-Ruel exhibition in November 1893, which Degas chiefly organized, received mixed reviews. Among the mocking were
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4823:, p. 4, âŠimpressed with his wife's South American connections, he decided to emigrate to Peru and start a newspaper there..
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was the red-headed Tohotaua, the daughter of a chieftain on a neighbouring island. The portrait appears to have been taken from
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technique and later in the year broke decisively with Pissarro, who from that point on was rather antagonistic towards Gauguin.
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and the art market contracted. Gauguin's earnings deteriorated sharply and he eventually decided to pursue painting full-time.
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a year (about $ 145,000 in 2019 US dollars) as a stockbroker, and as much again in his dealings in the art market. But in 1882
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Catalogue de peinture, dessin, sculpture, gravure, architecture et arts dĂ©coratifs: exposĂ©s au Grand Palais des Champs-ĂlysĂ©es
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The vogue for Gauguin's work started soon after his death. Many of his later paintings were acquired by the Russian collector
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process in his graphic work. Surviving examples of these prints are rather rare and command very high prices in the saleroom.
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inspired him to consider writing other books. At the beginning of the year (1902), he had revised an old 1896â97 manuscript,
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willingly with him and the following year gave birth to a healthy daughter whose descendants continue to live on the island.
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In 1873, around the time he became a stockbroker, Gauguin began painting in his free time. His Parisian life centered on the
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in the early days of the 20th century, Gauguin was inspired and motivated by the raw power and simplicity of the so-called
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After attending a couple of local schools, Gauguin was sent to the prestigious Catholic boarding school Petit SĂ©minaire de
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significantly impacted his brokerage career, prompting a full-time shift to painting. Gauguin's art education was largely
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Gauguin and Vincent had both visited, and asked her to "keep this object carefully, in remembrance of me". Vincent was
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and sculpture, but may have also been provoked by its historical significance to medieval artisans and the Japanese.
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noted for its malevolence and stupidity, while traders, both Western and Chinese, exploited the natives appallingly.
9464:, fully digitized text from the Metropolitan Museum of Art libraries (see essay: Degas and Gauguin pp. 221â234)
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and admiring the exotic sumptuousness of Gauguin's conjured folklore. In appreciation, Gauguin presented Degas with
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nature of the image has attracted critical attention, giving rise to speculation that Gauguin intended to depict a
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appears to have been executed at the same time and depicts a long-haired young man wearing an exotic red cape. The
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It is so small a thing, the life of a man, and yet there is time to do great things, fragments of the common task.
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4859:, p. 4, I have a remarkable visual memory, and I remember that period, our house and a whole lot of events..
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3295:. The most disturbing of those ceramics (one that Picasso might have already seen at Vollard's) was the gruesome
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numerous teenage daughters being withdrawn from the schools (Gauguin called this process "rescuing"). He took as
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In August 1893, Gauguin returned to France, where he continued to execute paintings on Tahitian subjects such as
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island where he was subsequently interned in a yellow fever and malaria sanatorium), he decided to leave Panama.
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struggle to reconcile opposing binaries. Mathews notes two closing remarks as a distillation of his philosophy:
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paintings were exhibited at his colour merchant ArsĂšne Poitier's gallery. There they were seen and admired by
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public has grown so used to Tahiti. The world is so stupid that if one shows it canvases containing new and
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Many of his finest paintings date from this period. His first portrait of a Tahitian model is thought to be
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7742:"Paul Gauguin : Avant et aprÚs. Edition originale. Fac-similé du manuscrit. Leipzig, Kurt Wolff, 1918"
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In addition to being one of his earliest supporters, including buying Gauguin's work and persuading dealer
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Paul Gauguin, Arearea no Varua Ino,1894, watercolour monotype on Japan paper, owned originally by Degas,
835:("Women Bathing") introduced what was to become a recurring motif, the woman in the waves. Nevertheless,
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686:, a former stockbroker who also aspired to become an artist, lived close by. Gauguin showed paintings in
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has an awesome presence, as befits a monument intended for Gauguin's grave. Picasso was very struck by
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from Papeete so that he could get about town. By September the pain was so extreme that he resorted to
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Szech, Anna (15 February 2015). "Marquesas 1901â1903". In Bouvier, RaphaĂ«l; Schwander, Martin (eds.).
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Goddard, Linda (2008). "'The Writings of a Savage?' Literary Strategies in Paul Gauguin's "Noa Noa"".
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in Paris in 1903, and an even larger one in 1906, had a stunning and powerful influence on the French
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Solomon-Godeau, Abigail. "Going Native: Paul Gauguin and the Invention of Primitivist Modernist," in
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was also on the island. His account provides an historical comparison to accompany Gauguin's images.
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3814:(2003). Several other independent films have explored different aspects of Gauguin's eventful life.
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In 1888, at Theo's instigation, Gauguin and Vincent spent nine weeks painting together at Vincent's
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Gauguin's idyllic childhood ended abruptly when his family mentors fell from political power during
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year-old sister, Marie. Gauguin's mother was welcomed by her paternal granduncle, whose son-in-law,
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published on 15 March 1895, Gauguin explains that his developing tactical approach is reaching for
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In 1871, Gauguin returned to Paris where he secured a job as a stockbroker. A close family friend,
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8646:"Stolen paintings hung on Italian factory worker's wall for almost 40 years | Art and design"
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connoisseur of the so-called primitive. A number of his early carvings appear to be influenced by
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in general, and concluded with a description of his personal philosophy conceiving life as an
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Catalogue des ouvrages de peinture, sculpture, dessin gravure, architecture et art décoratif
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opening in April. There are conflicting versions of how it was received: his biographer and
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7424:"The Letters of Paul Gauguin to Georges Daniel de Monfreid â O'Brien (letters to Monfreid)"
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No one is good; no one is evil; everyone is both, in the same way and in different ways. âŠ
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calculated decision of relinquishing legibility in order to gain mystery and abstraction.
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found him preparing woodcuts using an experimental technique for his proposed travelogue
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Gauguin was born in Paris to Clovis Gauguin and Aline Chazal on 7 June 1848, the year of
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in 1896. Later a sale of land obliged him to build a new one in the same neighbourhood.
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1514:(two versions) recalls Degas' horse pictures that he started in the 1860s, specifically
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portrayed a younger Gauguin in a less focused and much less historically accurate film
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was further stimulated by the examples he saw at the 1906 Gauguin retrospective at the
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word for "woman"), a marriage contracted in the course of a single afternoon. This was
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and informal, shaped significantly by his associations with other artists rather than
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painter. His bold, colourful, and design oriented paintings significantly influenced
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prevalent at the time. During that time, he controversially married three adolescent
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7394:"Self-portrait with glasses, 1903 â Paul Gauguin: Self-Portraits at the Tate Modern"
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of 1893â94 where he was one of a number of artists reinventing the technique of the
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Although Gauguin made some of his early strides in the world of art under Pissarro,
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girls with whom he later fathered children. Gauguin's later years in Tahiti and the
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9317:(in French). Vol. I. Paris: Les Beaux-arts, Ă©ditions d'Ă©tudes et de documents.
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the Marquesas were the most affected by the import of Western diseases (especially
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left him when he took work in Papeete just 10 miles away). When the English writer
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8832:' series. Translated by Paris, I. Mark. London: Thames & Hudson. p. 195.
6824:"Record for Any Paul Gauguin Print Sold at Auction Established Today at Sotheby's"
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Later that same year, Gauguin and Laval spent the time from June to November near
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5671:. At n. 252, the text says Degas said he purchased it later at Vollard's gallery.
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his next artistic destination. A successful auction of paintings in Paris at the
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longest-lasting friendship, spanning his entire artistic career until his death.
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Revelation of Modernism: Responses to Cultural Crises in Fin-de-sie`cle Painting
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Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago
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Revelation of Modernism: Responses to Cultural Crises in Fin-de-SiĂšcle Painting
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In addition to seeing Gauguin's work at Durrio's, Picasso also saw the work at
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6383:(in French). Histoire de l'Assemblée de la Polynésie française. Archived from
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Both David Sweetman and John Richardson point to the Gauguin sculpture called
1145:. His dream was to purchase land of his own on the small Panamanian island of
883:("The Breton Shepherdess"), in which the figure plays a subordinate role. His
422:. Gauguin's art became popular after his death, partially from the efforts of
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7939:"Bois de la Maison du Jouir [Sculpted wood from the Maison du Jouir]"
7847:"The Letters of Paul Gauguin to Georges Daniel de Monfreid â Monfreid XLVIII"
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arranged a cheap passage back to Tahiti, and Gauguin never saw Europe again.
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Modiglianiâs Nu couchĂ© (Reclining Nude) leads a night of records in New York
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after his travels in Panama and Martinique. The bold use of pure colour and
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Antimodernism and Artistic Experience: Policing the Boundaries of Modernity
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Arifa Akbar, "The painter who invented his own brand of artistic license",
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Danielsson (1965, p. 235) notes that the day before his boat had put in at
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predilection was probably influenced by Degas' advancements in the medium.
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In 1887, Gauguin left France along with his friend, another young painter,
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5576:"Avant et aprĂšs: avec les vingt-sept dessins du manuscrit original (1923)"
3118:. Artists and movements in the early 20th century inspired by him include
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7899:"Sotheby's Impressionist & Modern Art, Part One New York 04 Nov 2004"
6664:"The Letters of Paul Gauguin to Georges Daniel de Monfreid â Letter XXXI"
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The $ 12 Million Stuffed Shark: The Curious Economics of Contemporary Art
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scalp in an attempt to revive him. By his bedside was an empty bottle of
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or priest. The third picture of the trio is the mysterious and beautiful
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and former friend Pissarro. Degas, however, praised his work, purchasing
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in which neither form nor colour predominate but each has an equal role.
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675:. Here, on the third floor at 8 rue Carcel, he had his first home with a
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386:. By the 1890s, Gauguin's art took a significant turn during his time in
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9345:(in French). Vol. II. Paris: Wildenstein Institute and Skira/Seuil.
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C. Childs, Elizabeth; Figura, Starr; Foster, Hal; Mosier, Erika (2014).
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7194:. Dodd, Mead and Company. 25 February 1922 – via Internet Archive.
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is preserved in the Louvre and was published in facsimile form in 1951.
359:. His entry into the art world was facilitated by his acquaintance with
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in American public collections, on the French Sculpture Census website
9331:(in French). Vol. I. Paris: Wildenstein Institute and Skira/Seuil.
8002:"Posthumous Prognosis for Supposedly Syphilitic Gauguin, via His Teeth"
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as "a whole little world of friends". They included Redon's lithograph
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in the Hermitage Museum. The original was painted at the time his then
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State funding for the missionary schools had ceased as a result of the
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1405:, it did not suit him and he quickly returned to painting from nature.
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The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles
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The Path Between the Seas: The Creation of the Panama Canal, 1870â1914
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6472:"Head Piece for "Le Sourire" (MonkeyâCaricature of Governor Gallet)"
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Bernard, Emile (June 1895). "Lettre ouverte Ă M. Camille Mauclair".
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appears to reference Gauguin's traumatic relationship with Vincent.
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did purchase one of his paintings. This exhibition also established
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Gauguin it's not just Genius or Monster, NY Times exhibition review
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4629:"Controversial or Criminal? Problematic Artists and Cancel Culture"
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8193:"Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc"
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3071:(Paul Rollon) became an artist and art critic and wrote a memoir,
2988:, Hiva 'Oa, at 2 p.m. the next day. In 1973, a bronze cast of his
1685:, representing Oro's terrestrial wife Vairaumati, now held by the
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9840:
9824:
8142:, pp. 11â221, Phaidon Press Limited 1970 in association with the
3530:
3478:, 1889, zincograph on yellow paper with watercolour and gouache,
3383:
3348:
3139:
2903:
2771:
2751:) on critics and art criticism, which he sent for publication to
2679:
George Daniel Monfreid, Letter to Paul Gauguin circa October 1902
2442:
1999:
1716:
1678:
1622:). The painting is notable for the care with which it delineates
1578:
1564:
1386:
1378:
1041:
907:, Charles Laval, Ămile Schuffenecker and many others, re-visited
815:
628:
604:
484:
Gauguin's maternal grandmother, Flora Tristan (1803â1844) in 1838
317:
9200:
8998:
8951:
5790:
5441:"Gauguin and Martinique," Karen Kristine Reichnitzer Pope, 1981.
4695:
3506:
Gauguin began making prints in 1889, highlighted by a series of
3418:
into day-to-day life, in one instance going so far as to recall
304:, and writer, whose work has been primarily associated with the
10738:
10611:
9511:
8061:
Harrison Swain "Emile Gauguin Honor Guest at Artists' Ball" in
7974:"Gauguin could be cleared of syphilisâby the skin of his teeth"
6964:
5468:. New York, Harper & brothers – via Internet Archive.
4528:
argued that Gauguin was influenced by the French occult author
3534:
3344:
3143:
2985:
2972:
2438:
1778:
1714:
Gauguin later wrote a travelogue (first published 1901) titled
1545:
932:
869:
676:
387:
104:
9119:. New Haven, Connecticut: Yale University Press. p. 316.
7770:
7512:
7430:
7404:
7158:
7122:
6954:
6952:
6724:
6620:
6498:
5834:
4416:
1928:
district frequented by artists, and began to conduct a weekly
10091:
9888:
7548:
7546:
6939:
6937:
5586:
4507:
3496:, 1894, watercolour monotype with pen and red and black ink,
3263:
3170:
Paul Gauguin: Letters to Ambroise Vollard and André Fontainas
2815:
2593:
1966:
1873:
1673:
1369:
715:
612:
471:
Aline Marie Chazal TristĂĄn, (1825â1867) "The Artist's Mother"
9376:. Preface by Emil Gauguin, New York, Crown Publishers, 1936.
7748:(in French). Julien Mannoni livres anciens. 6 February 2012.
6555:"Gauguin's Nevermore voted Britain's most romantic painting"
6253:
1863:'s studio at rue de la Grande-ChaumiĂšre, Paris (Mucha photo)
915:
choice of subject matter distinguish what is now called the
849:
movement in Paris. Gauguin contemptuously rejected Seurat's
296:; 7 June 1848 â 8 May 1903) was a French painter, sculptor,
8621:
The Dream Collector, Book II Sabrine & Vincent van Gogh
7861:"The Letters of Paul Gauguin to Georges Daniel de Monfreid"
7791:
7661:
7192:"The Letters of Paul Gauguin to Georges Daniel de Monfreid"
6949:
6862:
6712:
6644:
6632:
6581:
6534:
6510:
6452:
6440:
6428:
6345:
6333:
6241:
6179:
6161:
Potential Images: Ambiguity and Indeterminacy in Modern Art
5324:
5322:
3670:. A substantial part of his collection is displayed in the
859:
Gauguin spent the summer of 1886 in the artist's colony of
623:(1883â1961). By 1884, Gauguin had moved with his family to
336:
267:
9495:
8530:
8419:
8359:
7815:
7803:
7649:
7619:
7543:
7502:
7500:
7454:
7374:
7362:
7350:
7338:
7326:
7314:
7251:
7203:
7201:
7146:
7134:
7015:
7003:
6991:
6981:
6979:
6934:
6922:
6898:
6850:
6838:
6777:
6569:
6092:
6090:
6001:
2525:, 1902, Musée d'art moderne et d'art contemporain de LiÚge
1889:, it is a matter of "not death in life but life in death".
1595:, the latter to become his most prized Tahitian painting.
8280:
8278:
6910:
6874:
6765:
5954:
5952:
5081:
5079:
4874:
3800:(1986) is a biographical film. With Gauguin portrayed by
2622:
featuring Tohotau again at the right. The left figure is
276:
273:
264:
8325:
8323:
6602:"Gauguin's British relative disputes artist's notoriety"
5889:
5701:
5699:
5634:
5553:
5343:
5319:
5307:
5295:
5283:
5244:
5223:
5199:
5187:
5175:
5004:
2476:), while the jambs echoed his earlier 1889 wood-carving
2342:, rubbing (reverse print) from an 1896 wooden cylinder,
2234:, 1897, oil on canvas, 139 Ă 375 cm (55 Ă 148 in),
331:
Gauguin was born in Paris in 1848, amidst the tumult of
9985:
Where Do We Come From? What Are We? Where Are We Going?
9503:
Gauguin: Catalogue RaisonnĂ© of the Paintings, 1889â1903
9400:
History of Post-Impressionism: From Van Gogh to Gauguin
9342:
Gauguin Catalogue Raisonné of the Paintings (1873-1888)
9328:
Gauguin Catalogue Raisonné of the Paintings (1873-1888)
8814:. London: Sampson Low, Marston, Searle & Rivington.
8596:
The Dream Collector, Book I Sabrine & Sigmund Freud
8103:
7879:
7867:
7827:
7497:
7442:
7302:
7198:
6976:
6736:
6522:
6486:
6416:
6357:
6220:
6087:
5615:
5613:
3662:, 1892, sold for a record US$ 210 million in 2014.
3245:'s gallery where both he and Gauguin were represented.
2761:
Where Do We Come From? What Are We? Where Are We Going?
2246:
Where Do We Come From? What Are We? Where Are We Going?
2231:
Where Do We Come From? What Are We? Where Are We Going?
2109:
Jules Agostini's 1896 photograph of Gauguin's house in
1669:Ătat de la sociĂ©tĂ© tahitienne Ă l'arrivĂ©e des EuropĂ©ens
9422:
Online exhibition of Paul Gauguin at the museum of art
8482:
8452:
8407:
8395:
8383:
8371:
8317:
Figura, Childs, Foster & Mosier (2014), pp. 23â26.
8290:
8275:
6755:
John, Rewald (May 1959). "The genius and the dealer".
5949:
5937:
5925:
5913:
5901:
5846:
5802:
5778:
5744:
5720:
5516:
5478:
Paul Gauguin, "Letters to his Wife and Friends", 1946.
5076:
5052:
5040:
3874:
For a comprehensive list of paintings by Gauguin, see
3200:
Gauguin's posthumous retrospective exhibitions at the
795:(Painter's Family in the Garden in Rue Carcel), 1881,
414:
were marked by health issues and financial struggles.
312:
movements. He was also an influential practitioner of
9706:
Still Life with Head-Shaped Vase and Japanese Woodcut
9380:
Pichon, Yann le; translated by I. Mark Paris (1987).
9350:
Paul Gauguin, His Life and Art by John Gould Fletcher
8713:"Why Is the Art World Divided over Gauguin's Legacy?"
8431:
8347:
8335:
8320:
8263:
8251:
5696:
5450:
Philip Vickers, "Martinique in Gauguin's Footsteps",
5211:
5163:
5064:
5028:
5016:
4992:
4898:
4886:
1544:
By 1890, Gauguin had conceived the project of making
279:
8575:
Reyburn, Scott; Carvajal, Doreen (5 February 2015).
5610:
5598:
4802:
4398:
3767:
Gauguin is also the subject of at least two operas:
1877:, partially glazed stoneware, 75 x 19 x 27 cm,
868:, who would accompany Gauguin the following year to
9506:
7711:
Association of Historians of Nineteenth-Century Art
5403:(Paperback ed.). Simon Schuster. p. 174.
4978:"The Business of Art: Evidence from the Art Market"
4680:
4652:
3632:. In correspondence, he also asserts a passion for
1137:
Early French construction on the Panama Canal, 1886
270:
9254:
8778:
8509:Figura, Childs, Foster & Mosier (2014), 30â32.
8479:Figura, Childs, Foster & Mosier (2014), 26â29.
8470:Figura, Childs, Foster & Mosier (2014), 19â24.
8027:
5823:, p. 182, Thomson notes that Gauguin offered
5392:
5390:
5127:
5125:
4690:. Paris: Société du Salon d'automne. p. 191.
3817:His biography is depicted in the 2017 French film
2574:Le Sorcier d'Hiva Oa (Marquesan Man in a Red Cape)
2523:Le Sorcier d'Hiva Oa (Marquesan Man in a Red Cape)
2489:In the early days at least, until Gauguin found a
1021:Poster of the 1889 Exhibition of Paintings by the
9163:The Expanding Discourse: Feminism and Art History
8577:"Gauguin Painting Is Said to Fetch $ 300 Million"
6110:"WPI Digital Archives & Catalogues Raisonnés"
5570:
5568:
5382:(Day of the God) (1814), and Savage Tales (1902).
3525:His first masterpieces of printing were from the
2629:In March 1902, the governor of French Polynesia,
1964:He submitted a large ceramic sculpture he called
445:, and he is well known for his relationship with
10843:
5486:
5484:
3414:favorite themes, which was the intrusion of the
2936:Jeune fille Ă l'Ă©ventail (Young Girl with a Fan)
2073:, and Annah the Javanese at Mucha's studio, 1893
461:
9148:A Life of Picasso: The Cubist Rebel: 1907â1916.
9008:Journal of the Warburg and Courtauld Institutes
8574:
8527:Figura, Childs, Foster & Mosier (2014), 37.
8500:Figura, Childs, Foster & Mosier (2014), 30.
8449:Figura, Childs, Foster & Mosier (2014), 19.
8308:Figura, Childs, Foster & Mosier (2014), 67.
7863:. Dodd, Mead and Company. 1922. pp. 172â6.
6678:"Gauguin â Tahiti, The Workshop of the Tropics"
6325:Mauclair, Camille (June 1895). "Choses d'art".
5964:
5686:The Private Collection of Edgar Degas, Volume 1
5664:The Private Collection of Edgar Degas, Volume 1
5631:Figura, Childs, Foster & Mosier (2014), 26.
5387:
5122:
3823:portraying his life during his years in Tahiti.
3725:on Gauguin's life, and that of his grandmother
3095:discovering the art of Africa, Micronesia, and
2596:culture as a whole threatened with extinction.
2582:a photograph that Vernier later sent to Vollard
9479:Gauguin's Intimate Journals, 1936 â on Archive
9165:. 1st ed. Boulder, CO: WestView, 1992. 313â329
6789:
6377:"Jules Agostini, fonctionnaire et photographe"
5565:
3736:portrayed Gauguin in the 1956 Van Gogh biopic
2570:Jeune fille Ă l'Ă©ventail (Young Girl with Fan)
639:eventually broke with him decisively in 1894.
10357:
9527:
8966:
8678:Mosaic: An Interdisciplinary Critical Journal
8057:
8055:
6891:
6889:
5481:
5160:, New York: Metropolitan Museum of Art, 2000.
3522:and intent to elevate monochromatic images.
3276:This interest would culminate in the seminal
2882:Cavaliers sur la Plage (Riders on the Beach)
2726:, while he himself had published extracts in
2142:He built a spacious reed and thatch house at
1773:Page from Gauguin's notebook (date unknown),
1626:features. He sent the painting to his patron
1196:spontaneously decided to stay on the island.
1073:painting. His painting later evolved towards
1012:
7426:. Dodd, Mead and Company. 1922. p. 160.
6170:
5265:"The Eighth Impressionist Exhibition â 1886"
3750:played Gauguin in the later Van Gogh biopic
3545:The Universe is Created (L'Univers est créé)
3401:Starting in Martinique, Gauguin began using
3239:Noa Noa: The Tahiti Journal of Paul Gauguin.
3166:Post-Impressionism: From Van Gogh to Gauguin
2562:Cavaliers sur la Plage (Riders on the Beach)
1316:
1305:Among the Mangoes (La Cueillette des Fruits)
378:showcased his inclination towards depicting
9357:Noa Noa: The Tahiti Journal of Paul Gauguin
9335:
9321:
9307:
9044:Noa Noa: The Tahiti Journal of Paul Gauguin
7090:Moore, Susan (January 2016). "Art Market".
6037:"Is it wrong to admire Paul Gauguin's art?"
4463:as well as photographs of subjects such as
4455:He described his collection in a letter to
3510:commissioned by Theo van Gogh known as the
3192:, terre cuite, rehauts peints, 34 cm,
10364:
10350:
10084:Objet décoratif carré avec dieux tahitiens
9534:
9520:
9471:
8894:
8880:
8710:
8181:
8079:God's Child: Private Life of a Masterpiece
8070:
8052:
7821:
7809:
7776:
7655:
7625:
7552:
7518:
7460:
7436:
7410:
7380:
7368:
7356:
7344:
7332:
7320:
7257:
7164:
7152:
7140:
7128:
7108:"Vicariate Apostolic of Marquesas Islands"
7096:. Vol. 158, no. 638. p. 72.
7021:
7009:
6997:
6970:
6943:
6928:
6916:
6904:
6886:
6880:
6856:
6844:
6783:
6771:
6730:
6626:
6575:
6504:
5895:
5864:
5396:
3852:
3190:Objet décoratif carré avec dieux tahitiens
3086:
2900:Landscape with a Pig and a Horse (Hiva Oa)
2766:On 27 May that year, the steamer service,
1290:Conversation Tropiques (NĂ©gresses Causant)
631:, where he pursued a business career as a
551:
56:
9104:Modern Painting: Its Tendency and Meaning
8807:Breton Folk: An Artistic Tour in Brittany
8803:
7696:
7639:"Union Steam Ship Company of New Zealand"
7400:. The Daily Telegraph. 17 September 2010.
6132:
6130:
5355:
4916:
4554:
10068:Jug in the Form of a Head, Self-Portrait
9579:Still Life with a Sketch after Delacroix
9505:, the digital catalogue raisonné at the
8671:
7278:
7244:
7242:
7177:
7175:
7173:
7047:, Christie's New York, 10 November 2015.
6593:
6324:
5679:
5677:
5426:"Gauguin in Panama: A Forgotten Journey"
4945:
4626:
4273:Jug in the Form of a Head, Self-Portrait
3686:the world's third-most expensive artwork
3651:
3564:
3553:
3539:
3389:
3328:
3248:Concerning Gauguin's impact on Picasso,
3183:
3012:
2971:
2850:
2814:, Bishop Martin, his wife Mette and the
2695:
2517:
2451:
2409:
2394:
2266:
2224:
2104:
1970:he had fired the previous winter to the
1892:
1866:
1850:
1689:. His illustrated notebook of the time,
1603:Vahine no te tiare (Woman with a Flower)
1597:
1539:
1473:
1320:
1168:
1132:
1016:
927:). He was invited to participate in the
808:
646:
594:
479:
465:
9279:
9252:
9214:. New York City: Simon & Schuster.
9168:
9109:
9081:
9049:
9042:Gauguin, Paul; Morice, Charles (1901).
9005:
8925:Paul Gauguin: Artist of Myth and Dream.
8773:
8458:
8413:
8401:
8389:
8377:
8365:
8296:
8284:
8269:
8257:
8109:
7885:
7873:
7833:
7797:
7667:
7506:
7448:
7308:
7207:
7062:, Christie's New York, 9 November 2015.
6985:
6958:
6868:
6742:
6718:
6650:
6638:
6599:
6587:
6540:
6528:
6516:
6492:
6458:
6446:
6434:
6422:
6363:
6351:
6339:
6309:
6297:
6259:
6247:
6226:
6185:
6096:
6059:
6007:
5958:
5943:
5931:
5919:
5907:
5852:
5840:
5820:
5808:
5796:
5784:
5750:
5738:
5726:
5559:
5522:
5349:
5328:
5313:
5301:
5289:
5262:
5250:
5229:
5217:
5205:
5193:
5181:
5169:
5085:
5070:
5058:
5046:
5034:
5022:
5010:
4998:
4904:
4892:
4880:
4868:
4856:
4844:
4832:
4820:
4808:
4796:
4784:
4772:
4760:
4748:
4732:
4720:
4708:
3744:Academy Award for Best Supporting Actor
3681:Nafea Faa Ipoipo (When Will You Marry?)
3659:Nafea Faa Ipoipo (When Will You Marry?)
3179:
2802:(published in translation in the US as
2551:to George Daniel de Monfreid, June 1901
2196:ancient menhirs have been Christianised
1793:Te aa no areois (The Seed of the Areoi)
1683:Te aa no areois (The Seed of the Areoi)
1048:, a style given its name by the critic
702:crashed and the art market contracted.
335:. In 1850, Gauguin's family settled in
14:
10844:
10371:
8861:
8818:
8736:
8711:Mendelsohn, Meredith (3 August 2017).
8643:
8552:. Morozov-shchukin.com. Archived from
8536:
8488:
8437:
8425:
8353:
8341:
8329:
8187:
7993:
6834:from the original on 23 February 2015.
6821:
6565:from the original on 23 February 2015.
6552:
6127:
5705:
5640:
5619:
5604:
5592:
5148:
5146:
5097:
4437:Paul Gauguin's exhibit at Les XX, 1889
3397:, 1892, Meyer de Schauensee collection
3324:
3032:at Atuona has a reconstruction of the
2100:
10345:
10076:Soyez amoureuses vous serez heureuses
9515:
9461:The Private Collection of Edgar Degas
9261:. London: Thames and Hudson. p.
9225:
8937:
8016:from the original on 9 February 2015.
7999:
7239:
7170:
7089:
6049:from the original on 7 February 2015.
6028:
5674:
5466:"Two years in the French West Indies"
5463:
4053:The Moon and the Earth (Hina tefatou)
3150:, among others. Later, he influenced
2479:Soyez amoureuses vous serez heureuses
2463:. Gauguin's lampoon of Bishop Martin.
2113:. Note the sculpture of a nude woman.
1445:, 1880, carved and painted mahogany,
952:National Museum of Western Art, Tokyo
291:
9714:Self-Portrait with the Yellow Christ
8618:
8593:
7602:
6754:
5542:, New York), Abrams, New York 1986.
5464:Hearn, Lafcadio (25 February 1890).
4662:. Evreux: Ch. HĂ©rissey. p. 69.
4627:Bedworth, Candy (18 December 2023).
4369:Self-portrait (for my friend Daniel)
4020:Delightful Land (Te Nave Nave Fenua)
3307:Although just under 30 inches high,
2390:
2175:Journal méchant (A Wicked Newspaper)
1524:Vahine no te vi (Woman with a Mango)
394:, where he sought a refuge from the
9102:Huntington Wright, Willard (1915).
9088:. London: Penguin UK. p. 368.
8901:The Exotic Sources of Gauguin's Art
8890:. New York: Doubleday. p. 336.
8866:. Hirmer Verlag. pp. 306â321.
8730:
8665:
8029:"'Gauguin's teeth' found down well"
8000:Meier, Allison (27 February 2014).
6616:from the original on 23 March 2015.
5143:
5100:"Gauguin: Where he lived and loved"
3561:, 1899, woodcut, private collection
3547:, from the Noa Noa suite, 1893â94,
3271:Sweetman writes, "Gauguin's statue
2980:Gauguin was buried in the Catholic
2737:L'Esprit Moderne et le Catholicisme
2701:L'Esprit Moderne et le Catholicisme
2449:party in Tahiti in his journalism.
2416:Maison du Jouir (House of Pleasure)
2340:Oyez Hui Iesu (Christ on the Cross)
2188:Oyez Hui Iesu (Christ on the Cross)
1846:
1751:, as well as a notable woodcarving
1563:He spent the first three months in
1526:and the version Gauguin painted of
1389:. An 1889 sculptural self-portrait
804:
24:
10967:French Post-impressionist painters
10166:Paul Gauguin Interpretation Centre
9301:
8739:"Is It Time Gauguin Got Canceled?"
8737:Nayeri, Farah (18 November 2019).
7971:
7298:from the original on 2 April 2015.
6822:Truong, Alain R. (31 March 2011).
6013:
5970:
3820:fr:Gauguin : Voyage de Tahiti
3024:, sold at auction in Papeete, 1903
1292:, 1887, Private collection, Dallas
642:
25:
10988:
10937:French people of Peruvian descent
9698:Self-Portrait with Halo and Snake
9666:The Flageolet Player on the Cliff
9406:
8623:. New York, NY: Historium Press.
8087:The Private Life of a Masterpiece
6600:Rodgers, Paul (23 January 2011).
6553:Nikkah, Roya (14 February 2010).
6034:
5536:Van Gogh in Saint-RĂ©my and Auvers
5423:
5397:McCullough, David (1 June 2004).
5158:Heilbrunn Timeline of Art History
4231:Self-Portrait with Halo and Snake
3954:Night Café at Arles, (Mme Ginoux)
3876:List of paintings by Paul Gauguin
3225:According to Gauguin biographer,
2954:Contes barbares (Primitive Tales)
2741:The Modern Spirit and Catholicism
2620:Contes barbares (Primitive Tales)
2414:Reconstruction of Gauguin's home
2301:), he was obliged to turn to the
2086:Nave Nave Fenua (Delightful Land)
1330:Paul Gauguin (Man in a Red Beret)
1044:, Gauguin's work evolved towards
437:and many modern artists, such as
218:
191:
10049:Landscape with a Pig and a Horse
9571:Still Life with Profile of Laval
9541:
9053:Paul Gauguin's Intimate Journals
8704:
8637:
8612:
8587:
8568:
8542:
8521:
8512:
8503:
8494:
8473:
8464:
8443:
8311:
8302:
8242:
8233:
8224:
8215:
8160:
8144:Los Angeles County Museum of Art
8132:
8115:
8040:from the original on 25 May 2022
8020:
7965:
7931:
7891:
7853:
7839:
7782:
7752:
7734:
7717:
7703:Nineteenth-Century Art Worldwide
7690:
7673:
7631:
7596:
7590:BibliothĂšque nationale de France
7574:
7558:
7524:
7488:
7482:BibliothĂšque nationale de France
7466:
7416:
7386:
7272:
7263:
7213:
7184:
7100:
7083:
7065:
7050:
7036:
7027:
6815:
6748:
6692:
6670:
6656:
6546:
6464:
6399:
6369:
6318:
6303:
6274:
6265:
6232:
6211:
6191:
6152:
6102:
6065:
4547:, 288 (15 November 1938), 62â75.
4536:
4514:
4491:
4482:
4475:from an XVIIIth dynasty tomb at
4415:
4401:
4379:
4361:
4343:
4325:
4304:
4285:
4264:
4256:(Gauguin's self-portrait) 1889,
4244:
4222:
4203:
4181:
4159:
4137:
4122:
4105:
4090:
4075:
4060:
4045:
4027:
4012:
3995:
3978:
3970:Still Life with Japanese Woodcut
3961:
3946:
3939:(Jacob wrestling with the angel)
3928:
3913:
3898:
3891:Still-Life with Fruit and Lemons
3883:
3760:played Gauguin in the 1990 film
3586:in 1894, likely overlapping his
3486:
3468:
2946:
2928:
2910:
2892:
2874:
2372:
2350:
2332:
2171:(The Smile: A Serious Newspaper)
2078:
2058:
2040:
2019:
1972:Société Nationale des Beaux-Arts
1837:, 1891â3, polychromed pua wood,
1827:
1803:
1785:
1766:
1435:
1417:
1297:
1282:
1263:
1248:
1229:
1113:Still Life with Profile of Laval
1104:
1082:
994:
976:
958:
940:
785:
766:
748:
730:
653:Study of a Nude (Suzanne sewing)
260:
241:
9785:Landscape with Peacocks (Death)
9402:, London: Secker & Warburg.
9382:Gauguin: Life, Art, Inspiration
8825:Gauguin: The Quest for Paradise
8121:Artspoke, Robert Atkins, 1993,
7849:. Dodd, Mead and Company. 1922.
7788:Daniellson (1965), pp. 265â276.
6666:. Dodd, Mead and Company. 1922.
5992:
5858:
5765:
5756:
5711:
5655:
5646:
5625:
5528:
5507:
5498:
5472:
5457:
5444:
5435:
5417:
5334:
5256:
5235:
5091:
4970:
4939:
4910:
4449:
4130:Wonderful Land. Gathering Fruit
3857:In the 21st century, Gauguin's
3791:for piano in memory of Gauguin.
3636:and the masterful colouring of
3570:Maruru (Offerings of Gratitude)
3549:Princeton University Art Museum
3476:Leda (Design for a China Plate)
3107:Art of those foreign cultures.
2272:Tahitian Woman with Evil Spirit
1258:1887, Private collection, Paris
1128:
738:The Market Gardens of Vaugirard
693:The Market Gardens of Vaugirard
599:Gauguin with his wife Mette in
214:
187:
9507:Wildenstein Plattner Institute
9446:Works by or about Paul Gauguin
9014:. Warburg Institute: 277â293.
8967:FrĂšches-Thory, Claire (1988).
8923:Eisenman, Stephen F., (2008).
8908:Eisenman, Stephen F., (1999).
8644:Davies, Lizzy (2 April 2014).
7284:"The men-women of the Pacific"
6199:"Gauguin's Faithless Javanese"
4674:
4646:
4620:
4593:
4578:Australian National University
4565:
4253:Christ in the Garden of Olives
3688:when its owner, the family of
3459:
2457:PĂšre Paillard (Father Lechery)
2274:, traced monotype, 1899/1900,
2200:Te tamari no atua (Son of God)
1654:Voyage aux ßles du Grand Océan
1408:
585:the Paris stock market crashed
324:style that were distinct from
13:
1:
10887:20th-century French sculptors
10867:19th-century French sculptors
10304:Gauguin: Off the Beaten Track
9718:
9690:Christ on the Mount of Olives
9583:
9138:Studies in Post-Impressionism
9106:New York: John Lane Company.
8912:. London: Thames and Hudson.
8598:. New York: Historium Press.
8168:Studies in Post-Impressionism
8076:
7697:Mansfield, Elizabeth (2009).
6282:Dictionary of Artists' Models
3174:Studies in Post-Impressionism
3110:Gauguin is also considered a
2858:figure on Gauguin's grave in
2779:, the successor newspaper to
2703:front and back covers, 1902,
2484:Be in Love, You Will Be Happy
2030:(Sacred spring, sweet dreams)
1918:(Sacred spring, sweet dreams)
1556:, courted by Gauguin through
1402:Memory of the Garden at Etten
1164:
1029:, at Café des Arts, known as
760:Museum of Fine Arts, Budapest
462:Family history and early life
10882:20th-century French painters
10862:19th-century French painters
10156:Paul Gauguin Cultural Center
10134:The Volpini Exhibition, 1889
10041:Still Life with Exotic Birds
10025:Landscape, Horse on the Road
9737:Tahitian Woman with a Flower
9384:. New York: Harry N Abrams.
9169:Stuckey, Charles F. (1988).
9116:Paul Gauguin, an Erotic Life
6703:Paul Gauguin, an Erotic Life
6238:FrĂšches-Thory p. 372, n. 19.
5998:Solomon-Godeau pp. 326, 328.
5504:Thomson 1987, pp. 52â54, 65.
4601:"Woodcut and Wood Engraving"
3830:Paul Gauguin Cultural Center
3030:Paul Gauguin Cultural Center
2918:Still life with Exotic Birds
2420:Paul Gauguin Cultural Center
1855:Gauguin, c. 1895, playing a
1643:Jacques-Antoine Moerenhout's
1031:The Volpini Exhibition, 1889
456:
7:
10892:20th-century French writers
10872:19th-century French writers
9833:Spirit of the Dead Watching
9817:Fatata te Miti (By the Sea)
9729:Tahitian Women on the Beach
9488:â documentary broadcast by
9374:Gauguin's Intimate Journals
9150:New York: Alfred A. Knopf.
8674:"The Trial of Paul Gauguin"
5867:"Gauguin's Tahitian Titles"
5492:"De mangobomen, Martinique"
4394:
3987:Tahitian Women on the Beach
3574:Yale University Art Gallery
3051:
2759:whose favourable review of
2710:In 1901, the manuscript of
2344:Museum of Fine Arts, Boston
2169:Le Sourire: Journal sérieux
1812:Spirit of the Dead Watching
1748:Spirit of the Dead Watching
1641:Gauguin was lent copies of
1348:and his art dealer brother
1187:on the Caribbean island of
988:Burrell Collection, Glasgow
774:Portrait of Madame Gauguin,
742:Smith College Museum of Art
695:, are now highly regarded.
665:9th arrondissement of Paris
590:
513:. He was an officer of the
333:Europe's revolutionary year
10:
10993:
10977:French Polynesian painters
10907:Deaths in French Polynesia
9485:Gauguin â A Dangerous Life
9171:"The First Tahitian Years"
8944:Philadelphia Museum of Art
8938:Field, Richard S. (1973).
8148:Metropolitan Museum of Art
7746:julienmannoni.blogspot.com
7233:Metropolitan Museum of Art
6895:web Catholic encyclopaedia
6805:Metropolitan Museum of Art
6705:. New Haven, Connecticut:
5973:"The Self-Invented Artist"
5865:Danielsson, Bengt (1967).
5540:Metropolitan Museum of Art
5513:Mathews 2001, pp. 113â117.
3869:
3777:Gauguin (a synthetic life)
3480:Metropolitan Museum of Art
2236:Boston Museum of Fine Arts
1687:Metropolitan Museum of Art
1122:Indianapolis Museum of Art
1013:Cloisonnism and synthetism
293:[ĂžÊÉnÉÌÊipÉlÉĄoÉĄÉÌ]
29:
10972:French Polynesian artists
10897:20th-century male artists
10808:
10787:
10726:
10620:
10582:
10539:Henri de Toulouse-Lautrec
10436:
10381:
10255:
10227:George-Daniel de Monfreid
10175:
10142:
10121:
10102:
10095:(ceramic sculpture, 1895)
10059:
9626:Portrait of Madame Roulin
9602:The Painter of Sunflowers
9549:
9280:Walther, Ingo F. (2000).
9253:Thomson, Belinda (1987).
8887:Gauguin in the South Seas
8804:Blackburn, Henry (1880).
8785:. Phaidon Press. p.
8672:Maleuvre, Didier (2018).
8067:, 26 January 1965, p. 15.
5799:, pp. 143, 145, 152.
4917:Perruchot, Henri (1961).
4337:Detroit Institute of Arts
3794:The Danish-produced film
3647:
3283:According to Richardson,
3278:Les Demoiselles d'Avignon
3219:Les Demoiselles d'Avignon
3188:Paul Gauguin, 1893â1895,
2730:while he was editor. The
1817:AlbrightâKnox Art Gallery
1628:George-Daniel de Monfreid
1392:Jug in the Form of a Head
1317:Vincent and Theo van Gogh
1178:Scottish National Gallery
1097:AlbrightâKnox Art Gallery
517:. Members of the wealthy
256:EugĂšne Henri Paul Gauguin
249:
240:
235:
231:
168:
144:
119:
93:
72:EugĂšne Henri Paul Gauguin
67:
55:
48:
30:For the cruise ship, see
27:French artist (1848â1903)
9881:Merahi metua no Tehamana
9658:The Schuffenecker Family
9355:Morice, Charles (1901).
9082:Gayford, Martin (2006).
8850:. Museum of Modern Art.
8583:– via NYTimes.com.
8172:Paul GauguinâLetters to
7582:"Racontars de Rapindata"
6797:"Gauguin: Metamorphoses"
6480:Art Institute of Chicago
4573:"Prints by Paul Gauguin"
4442:
4175:Cambridge, Massachusetts
3832:opened in Atuona in the
3779:by Michael Smetanin and
3705:Gauguin's life inspired
3498:Art Institute of Chicago
3156:Arts and Crafts movement
2846:
2770:was shipwrecked off the
2286:in search of a yet more
1934:. He affected an exotic
1742:Merahi metua no Tehamana
1006:Art Institute of Chicago
558:La Chapelle-Saint-Mesmin
545:Peruvian civil conflicts
349:financial crisis of 1882
39:Gauguin (disambiguation)
9594:Vision after the Sermon
9286:. Taschen. p. 95.
9179:National Gallery of Art
9175:The Art of Paul Gauguin
9050:Gauguin, Paul (2011) .
8977:National Gallery of Art
8973:The Art of Paul Gauguin
8940:Paul Gauguin: Monotypes
8064:The Evening Independent
6114:digitalprojects.wpi.art
5871:The Burlington Magazine
5843:, pp. 92, 136â138.
5595:, pp. 16, 19, 123.
5098:Bain-Smith, Priscilla.
4355:SĂŁo Paulo Museum of Art
4237:National Gallery of Art
3937:Vision After the Sermon
3906:The Swineherd, Brittany
3853:Gauguin and colonialism
3579:Gauguin started making
3572:, 1894, woodcut sheet,
3087:Historical significance
3073:My Father, Paul Gauguin
3001:, a smaller version of
2976:Gauguin's grave, Atuona
2461:National Gallery of Art
2382:, 1899â1900, monotype,
2325:Willam Somerset Maugham
1920:. An exhibition at the
1881:, Paris. "The theme of
1709:cardiovascular syphilis
1480:National Gallery of Art
1237:Huttes sous les arbres,
1036:Under the influence of
822:Neue Pinakothek, Munich
575:, got him a job at the
552:Education and first job
490:revolutionary upheavals
475:Staatsgalerie Stuttgart
10877:20th-century ceramists
10769:Salon des Indépendants
10749:Le Barc de Boutteville
10703:Robert Antoine Pinchon
10087:(sculpture, 1893â1895)
10017:Tahitian Woman and Boy
9897:Self-Portrait in a Hat
9398:(1956; revised 1978).
9140:. Harry N. Abrams Inc.
8969:"The Return to France"
8848:Gauguin: Metamorphosis
5134:GĂ©ographies de Gauguin
5131:Jean-François Staszak
4946:Thompson, Don (2010).
4555:References and sources
4068:Watermill in Pont-Aven
3746:for his performance.
3663:
3576:
3562:
3551:
3424:Her Name is Vairaumati
3398:
3340:
3322:
3287:Picasso's interest in
3259:
3197:
3172:(included in Rewald's
3025:
2984:(CimetiĂšre Calvaire),
2977:
2862:
2840:
2707:
2705:Saint Louis Art Museum
2682:
2614:person) rather than a
2554:
2526:
2507:1901 Associations Bill
2464:
2422:
2407:
2278:
2251:Where do we come from?
2239:
2173:, later titled simply
2164:Les GuĂȘpes (The Wasps)
2149:photographed the house
2114:
2094:Art Gallery of Ontario
1903:
1902:(Day of the God), 1894
1890:
1864:
1677:society and their god
1609:
1607:Ny Carlsberg Glyptotek
1508:The Moon and the Earth
1482:
1447:Ny Carlsberg Glyptotek
1337:
1180:
1138:
1033:
885:Jeunes Bretons au bain
824:
797:Ny Carlsberg Glyptotek
778:Foundation E.G. BĂŒhrle
660:
658:Ny Carlsberg Glyptotek
611:In 1873, he married a
608:
485:
477:
87:French Second Republic
37:. For other uses, see
10932:French male sculptors
10734:Artistes Indépendants
10663:Karl Schmidt-Rottluff
10658:Ernst Ludwig Kirchner
10564:Théo van Rysselberghe
10264:The Moon and Sixpence
9793:Parau na te varua ino
9455:Gauguin's Cats in Art
9437:Works by Paul Gauguin
9371:, translator; 1997).
9177:. with Peter Zegers.
9060:. Mineola, New York:
8975:. with Peter Zegers.
8864:Gauguin and Polynesia
8248:Richardson 1991, 459.
8230:Richardson 1991, 461.
8166:John Rewald, (1986).
6707:Yale University Press
6381:histoire.assemblee.pf
4606:TheFreeDictionary.com
4386:Self-portrait, 1903,
3839:In 2014 the painting
3719:based his 2003 novel
3712:The Moon and Sixpence
3655:
3568:
3557:
3543:
3433:In an interview with
3393:
3378:. For this, the oil (
3332:
3299:Until 1987, when the
3285:
3254:
3187:
3168:(1956) and an essay,
3016:
2975:
2854:
2824:
2699:
2667:
2547:Paul Gauguin, Letter
2535:
2521:
2455:
2413:
2398:
2270:
2228:
2108:
1896:
1870:
1854:
1601:
1540:First visit to Tahiti
1491:Pierre-Auguste Renoir
1477:
1324:
1172:
1136:
1020:
812:
650:
598:
538:José Rufino Echenique
483:
469:
10927:French male painters
10912:Deaths from syphilis
10324:Paul Gauguin Cruises
10288:The Wolf at the Door
10162:, Marquesas Islands)
9937:Breton Peasant Women
9921:Arearea no varua ino
9849:When Will You Marry?
9761:The Bunch of Flowers
9610:Landscape near Arles
9417:Museum of Modern Art
9309:Wildenstein, Georges
9212:Paul Gauguin: A Life
9111:Mathews, Nancy Mowll
9020:10.1086/JWCI20462786
7269:Eisenman pp. 140â19.
6973:, pp. 236, 250.
6811:on 27 February 2015.
6699:Mathews, Nancy Mowll
6262:, pp. 194, 210.
6207:. 11 September 1950.
5762:Mathhews pp.157â167.
5279:on 6 September 2015.
5269:arthistory.about.com
5263:Gersh-Nesic, Berth.
4986:J. Paul Getty Museum
4258:Norton Museum of Art
3376:peinture Ă l'essence
3180:Influence on Picasso
3152:Arthur Frank Mathews
2755:, art critic at the
2384:J. Paul Getty Museum
1871:Paul Gauguin, 1894,
1797:Museum of Modern Art
1775:Ancien Culte Mahorie
1692:Ancien Culte Mahorie
1174:Martinique Landscape
919:. Disappointed with
903:Gauguin, along with
564:'s assistant in the
396:Western civilization
217: 1891;
190: 1873;
10952:French stockbrokers
10779:Salon des Tuileries
10754:La Libre Esthétique
10519:RenĂ© SchĂŒtzenberger
10499:Hippolyte Petitjean
10237:Ămile Schuffenecker
10150:Paul Gauguin Museum
9642:The Beautiful Angel
9337:Wildenstein, Daniel
9323:Wildenstein, Daniel
9238:). pp. 148â9.
8619:Meek, R.w. (2024).
8594:Meek, R.w. (2023).
8556:on 9 September 2013
8539:, pp. 180â181.
8428:, pp. 170â171.
8176:and Andre Fontainas
8036:. 23 October 2011.
7953:on 21 December 2018
7800:, pp. 252â254.
7779:, pp. 271â274.
7521:, pp. 259â262.
7439:, pp. 255â258.
7413:, pp. 258â259.
7280:Vargas Llosa, Mario
7167:, pp. 241â255.
7131:, pp. 240â241.
6961:, pp. 235â236.
6871:, pp. 213â214.
6733:, pp. 227â228.
6653:, pp. 225â229.
6641:, pp. 194â200.
6629:, pp. 193â195.
6590:, pp. 222â223.
6561:. Daily Telegraph.
6543:, pp. 217â219.
6519:, pp. 188â190.
6507:, pp. 223â226.
6461:, pp. 232â235.
6449:, pp. 214â215.
6437:, pp. 212â213.
6354:, pp. 209â210.
6342:, pp. 185â186.
6250:, pp. 208â209.
6188:, pp. 197â199.
6042:The Daily Telegraph
6010:, pp. 179â182.
5829:Musée du Luxembourg
5534:Pickvance, Ronald.
5452:Contemporary Review
4433:(client and friend)
4278:Kunstindustrimuseet
3722:The Way to Paradise
3707:W. Somerset Maugham
3559:Change of Residence
3365:Arthur Schopenhauer
3325:Technique and style
3079:Emile Marae a Tai,
3038:Paul Gauguin Museum
2624:Jacob Meyer de Haan
2502:in sexual matters.
2437:Gauguin settled in
2380:Eve (The Nightmare)
2210:audience in Paris.
2204:O Taiti (Nevermore)
2101:Residence in Tahiti
1835:Tehura (Teha'amana)
1745:and the celebrated
1632:Nancy Mowll Mathews
1619:Woman with a Flower
1512:Riders on the Beach
1425:Riders on the Beach
966:La BergĂšre Bretonne
881:La BergĂšre Bretonne
833:Baigneuses Ă Dieppe
793:Garden in Vaugirard
684:Ămile Schuffenecker
10962:Pont-Aven painters
10942:French printmakers
10902:Artists from Paris
10744:Volpini Exhibition
10479:Henri-Edmond Cross
10374:Post-Impressionism
10312:At Eternity's Gate
10079:(wood panel, 1889)
10001:Two Tahitian Women
9359:, Paris: H. Floury
9062:Dover Publications
8946:(Lebanon Valley).
8812:Randolph Caldecott
8743:The New York Times
8581:The New York Times
8550:"Shchukin Gauguin"
8368:, pp. 13, 17.
8239:Sweetman, 562â563.
8198:The New York Times
8140:"The Cubist Epoch"
7670:, p. 247-252.
6721:, p. 194-200.
6387:on 9 November 2014
5978:The New York Times
5643:, pp. 85, 95.
5368:The New York Times
4954:Palgrave Macmillan
4883:, pp. 99â100.
4423:Visual arts portal
4193:Kimbell Art Museum
4114:Two Tahitian Women
3762:Vincent & Theo
3758:Wladimir Yordanoff
3753:At Eternity's Gate
3717:Mario Vargas Llosa
3664:
3577:
3563:
3552:
3422:tomb reliefs with
3399:
3341:
3208:and in particular
3198:
3112:Post-Impressionist
3026:
3022:private collection
2978:
2886:Private collection
2863:
2800:(Before and After)
2749:Tales of a Dabbler
2745:Racontars de Rapin
2708:
2527:
2465:
2423:
2408:
2279:
2240:
2115:
2052:Private collection
2048:Annah the Javanese
1982:collaborator, the
1940:Annah the Javanese
1904:
1891:
1865:
1614:Vahine no te tiare
1610:
1483:
1338:
1241:Private collection
1181:
1139:
1034:
889:Randolph Caldecott
825:
661:
609:
486:
478:
306:Post-Impressionist
151:Post-Impressionism
10839:
10838:
10668:Wassily Kandinsky
10391:Neo-Impressionism
10339:
10338:
10307:(2013 comic book)
10280:Rebel in Paradise
10195:Paul René Gauguin
10183:Jean René Gauguin
9961:Te tamari no atua
9929:Le violoncelliste
9745:A Man with an Axe
9674:The Yellow Christ
9650:Fruits on a Table
9634:Fields by the Sea
9557:List of paintings
9441:Project Gutenberg
9390:978-0-8109-0993-9
9293:978-3-8228-5986-5
9245:978-3-7757-3959-7
9232:Fondation Beyeler
9156:978-0-307-26665-1
9071:978-0-486-29441-4
8918:978-0-500-28038-6
8896:Danielsson, Bengt
8882:Danielsson, Bengt
8873:978-3-7774-4261-7
8856:978 0 87070 905 0
8820:Cachin, Françoise
8810:. Illustrated by
8777:(5 August 1971).
8630:978-1-962465-34-2
8605:978-1-962465-13-7
8518:Field, pp. 20â22.
8189:Miller, Arthur I.
8127:978-1-55859-388-6
8096:978-0-8160-9539-1
8006:hyperallergic.com
7979:The Art Newspaper
7761:Intimate Journals
7725:Intimate Journals
7533:Intimate Journals
6606:independent.co.uk
6327:Mercure de France
6312:Mercure de France
6271:Wright pp. 194-8.
6035:Smart, Alastair.
5971:Cotter, Holland.
5683:Ann Dumas (ed.),
5661:Ann Dumas (ed.),
5562:, pp. 76â77.
5352:, pp. 74â75.
5340:Blackburn (1880).
5331:, pp. 42â49.
5316:, pp. 70â73.
5304:, pp. 67â68.
5292:, pp. 39â41.
5253:, pp. 63â67.
5232:, pp. 57â62.
5208:, pp. 52â56.
5196:, pp. 27â29.
5184:, pp. 38â40.
5154:Gauguin Biography
5013:, pp. 48â49.
4963:978-0-230-62059-9
4920:La Vie de Gauguin
4633:DailyArt Magazine
4545:Mercure de France
4520:In his 2008 book
4501:island, scene of
4388:Kunstmuseum Basel
4197:Fort Worth, Texas
3842:Fruits on a Table
3834:Marquesas Islands
3806:Kiefer Sutherland
3802:Donald Sutherland
3785:DĂ©odat de SĂ©verac
3769:Federico Elizalde
3690:Rudolf Staechelin
3403:analogous colours
3369:Stéphane Mallarmé
3338:Kunstmuseum Basel
3154:and the American
3060:Te tamari no atua
2904:Ateneum, Helsinki
2835:Intimate Journals
2804:Intimate Journals
2785:Mercure de France
2757:Mercure de France
2474:House of Pleasure
2441:on the island of
2391:Marquesas Islands
2365:Courtauld Gallery
2288:primitive society
2284:Marquesas Islands
2218:. The injury, an
2160:Mercure de France
2121:Mercure de France
1574:Suzanne Bambridge
1359:philosophy of art
1222:Among the Mangoes
1093:(Le Christ jaune)
1091:The Yellow Christ
1066:The Yellow Christ
970:Laing Art Gallery
898:Four Breton Women
851:Neo-Impressionist
843:as leader of the
837:FĂ©lix Bracquemond
682:His close friend
619:(1881â1961); and
412:Marquesas Islands
357:academic training
253:
252:
109:Marquesas Islands
16:(Redirected from
10984:
10922:French ceramists
10759:Ambroise Vollard
10708:Henriette Tirman
10602:Der Blaue Reiter
10574:Ădouard Vuillard
10559:Vincent van Gogh
10489:Georges Dufrénoy
10375:
10366:
10359:
10352:
10343:
10342:
10319:Gauguin (crater)
10247:Ambroise Vollard
10232:Camille Pissarro
10212:Vincent van Gogh
10009:The Great Buddha
9953:Nave Nave Mahana
9809:Vairumati tei Oa
9723:
9720:
9682:The Green Christ
9588:
9585:
9536:
9529:
9522:
9513:
9512:
9492:in December 2019
9475:
9450:Internet Archive
9369:Brooks, Van Wyck
9346:
9332:
9318:
9297:
9276:
9260:
9249:
9204:
9144:Richardson, John
9130:
9099:
9075:
9056:. Translated by
9039:
9002:
8963:
8905:
8891:
8877:
8843:
8815:
8800:
8784:
8762:
8761:
8759:
8757:
8734:
8728:
8727:
8725:
8723:
8708:
8702:
8701:
8669:
8663:
8662:
8660:
8658:
8641:
8635:
8634:
8616:
8610:
8609:
8591:
8585:
8584:
8572:
8566:
8565:
8563:
8561:
8546:
8540:
8534:
8528:
8525:
8519:
8516:
8510:
8507:
8501:
8498:
8492:
8486:
8480:
8477:
8471:
8468:
8462:
8456:
8450:
8447:
8441:
8435:
8429:
8423:
8417:
8411:
8405:
8399:
8393:
8387:
8381:
8375:
8369:
8363:
8357:
8351:
8345:
8339:
8333:
8327:
8318:
8315:
8309:
8306:
8300:
8294:
8288:
8282:
8273:
8267:
8261:
8255:
8249:
8246:
8240:
8237:
8231:
8228:
8222:
8219:
8213:
8212:
8207:
8205:
8185:
8179:
8174:Ambroise Vollard
8164:
8158:
8138:Douglas Cooper,
8136:
8130:
8119:
8113:
8107:
8101:
8100:
8084:
8074:
8068:
8059:
8050:
8049:
8047:
8045:
8031:
8024:
8018:
8017:
7997:
7991:
7990:
7988:
7986:
7972:Bailey, Martin.
7969:
7963:
7962:
7960:
7958:
7949:. Archived from
7935:
7929:
7928:
7926:
7924:
7918:
7912:. Archived from
7903:
7895:
7889:
7883:
7877:
7871:
7865:
7864:
7857:
7851:
7850:
7843:
7837:
7831:
7825:
7819:
7813:
7807:
7801:
7795:
7789:
7786:
7780:
7774:
7768:
7756:
7750:
7749:
7738:
7732:
7721:
7715:
7714:
7694:
7688:
7677:
7671:
7665:
7659:
7653:
7647:
7646:
7643:theshipslist.com
7635:
7629:
7623:
7617:
7616:
7603:Bertrand, Anne.
7600:
7594:
7593:
7578:
7572:
7562:
7556:
7550:
7541:
7530:Gauguin (1921),
7528:
7522:
7516:
7510:
7504:
7495:
7492:
7486:
7485:
7470:
7464:
7458:
7452:
7446:
7440:
7434:
7428:
7427:
7420:
7414:
7408:
7402:
7401:
7390:
7384:
7378:
7372:
7366:
7360:
7354:
7348:
7342:
7336:
7330:
7324:
7318:
7312:
7306:
7300:
7299:
7276:
7270:
7267:
7261:
7255:
7249:
7246:
7237:
7236:
7217:
7211:
7205:
7196:
7195:
7188:
7182:
7179:
7168:
7162:
7156:
7150:
7144:
7138:
7132:
7126:
7120:
7119:
7104:
7098:
7097:
7087:
7081:
7080:
7069:
7063:
7054:
7048:
7040:
7034:
7033:Eisenman p. 170.
7031:
7025:
7019:
7013:
7007:
7001:
6995:
6989:
6983:
6974:
6968:
6962:
6956:
6947:
6941:
6932:
6926:
6920:
6914:
6908:
6902:
6896:
6893:
6884:
6878:
6872:
6866:
6860:
6854:
6848:
6842:
6836:
6835:
6819:
6813:
6812:
6807:. Archived from
6793:
6787:
6781:
6775:
6769:
6763:
6762:
6752:
6746:
6740:
6734:
6728:
6722:
6716:
6710:
6696:
6690:
6689:
6674:
6668:
6667:
6660:
6654:
6648:
6642:
6636:
6630:
6624:
6618:
6617:
6597:
6591:
6585:
6579:
6573:
6567:
6566:
6550:
6544:
6538:
6532:
6526:
6520:
6514:
6508:
6502:
6496:
6490:
6484:
6483:
6468:
6462:
6456:
6450:
6444:
6438:
6432:
6426:
6420:
6414:
6403:
6397:
6396:
6394:
6392:
6373:
6367:
6361:
6355:
6349:
6343:
6337:
6331:
6330:
6322:
6316:
6315:
6307:
6301:
6295:
6289:
6278:
6272:
6269:
6263:
6257:
6251:
6245:
6239:
6236:
6230:
6224:
6218:
6215:
6209:
6208:
6195:
6189:
6183:
6177:
6174:
6168:
6156:
6150:
6149:
6134:
6125:
6124:
6122:
6120:
6106:
6100:
6094:
6085:
6084:
6069:
6063:
6057:
6051:
6050:
6032:
6026:
6019:Gauguin (1903),
6017:
6011:
6005:
5999:
5996:
5990:
5989:
5987:
5985:
5968:
5962:
5956:
5947:
5941:
5935:
5929:
5923:
5917:
5911:
5905:
5899:
5893:
5887:
5886:
5877:(769): 228â233.
5862:
5856:
5850:
5844:
5838:
5832:
5818:
5812:
5806:
5800:
5794:
5788:
5782:
5776:
5775:, 20 April 2010.
5769:
5763:
5760:
5754:
5748:
5742:
5736:
5730:
5724:
5718:
5715:
5709:
5703:
5694:
5681:
5672:
5659:
5653:
5650:
5644:
5638:
5632:
5629:
5623:
5617:
5608:
5602:
5596:
5590:
5584:
5583:
5580:Internet Archive
5572:
5563:
5557:
5551:
5532:
5526:
5520:
5514:
5511:
5505:
5502:
5496:
5495:
5488:
5479:
5476:
5470:
5469:
5461:
5455:
5448:
5442:
5439:
5433:
5432:
5430:
5421:
5415:
5414:
5394:
5385:
5384:
5378:
5376:
5359:
5353:
5347:
5341:
5338:
5332:
5326:
5317:
5311:
5305:
5299:
5293:
5287:
5281:
5280:
5275:. Archived from
5260:
5254:
5248:
5242:
5239:
5233:
5227:
5221:
5215:
5209:
5203:
5197:
5191:
5185:
5179:
5173:
5167:
5161:
5150:
5141:
5129:
5120:
5119:
5117:
5115:
5106:. Archived from
5104:bonjourparis.com
5095:
5089:
5083:
5074:
5068:
5062:
5056:
5050:
5044:
5038:
5032:
5026:
5020:
5014:
5008:
5002:
4996:
4990:
4989:
4974:
4968:
4967:
4943:
4937:
4936:
4914:
4908:
4902:
4896:
4890:
4884:
4878:
4872:
4866:
4860:
4854:
4848:
4842:
4836:
4830:
4824:
4818:
4812:
4806:
4800:
4794:
4788:
4782:
4776:
4770:
4764:
4758:
4752:
4746:
4740:
4730:
4724:
4718:
4712:
4706:
4700:
4699:
4678:
4672:
4671:
4650:
4644:
4643:
4641:
4639:
4624:
4618:
4617:
4615:
4613:
4597:
4591:
4590:
4588:
4586:
4569:
4548:
4540:
4534:
4518:
4512:
4495:
4489:
4486:
4480:
4453:
4431:Frederick Delius
4425:
4420:
4419:
4411:
4409:Biography portal
4406:
4405:
4404:
4383:
4365:
4347:
4329:
4308:
4289:
4268:
4248:
4239:, Washington, DC
4226:
4207:
4185:
4163:
4141:
4126:
4109:
4094:
4079:
4064:
4049:
4031:
4016:
3999:
3982:
3965:
3950:
3932:
3917:
3902:
3887:
3597:Ambroise Vollard
3490:
3472:
3420:ancient Egyptian
3357:EugĂšne Delacroix
3269:Les Demoiselles.
3243:Ambroise Vollard
3120:Vincent van Gogh
3097:Native Americans
2982:Calvary Cemetery
2950:
2932:
2914:
2896:
2878:
2838:
2723:La Revue Blanche
2680:
2639:
2590:Bengt Danielsson
2584:. The model for
2576:. The model for
2552:
2376:
2354:
2336:
2321:
2320:
2316:
2313:
2263:
2154:He maintained a
2130:Camille Mauclair
2082:
2062:
2044:
2034:Hermitage Museum
2023:
1996:
1959:Ambroise Vollard
1948:
1911:(Day of the God)
1847:Return to France
1831:
1807:
1789:
1770:
1725:
1700:
1666:
1658:Edmond de Bovis'
1651:
1558:Camille Pissarro
1504:
1465:Paul Durand-Ruel
1439:
1421:
1354:Goupil & Cie
1346:Vincent van Gogh
1326:Vincent van Gogh
1301:
1286:
1267:
1252:
1233:
1108:
1086:
1050:Ădouard Dujardin
1027:Synthetist Group
998:
980:
962:
944:
917:Pont-Aven School
805:France 1885â1886
789:
770:
756:Winter Landscape
752:
734:
704:Paul Durand-Ruel
669:Camille Pissarro
535:
534:
530:
505:family from the
429:, who organized
427:Ambroise Vollard
398:, driven by the
361:Camille Pissarro
295:
290:
286:
285:
282:
281:
278:
275:
272:
269:
266:
245:
222:
220:
216:
195:
193:
189:
177:Mette-Sophie Gad
113:French Polynesia
100:
81:
79:
60:
46:
45:
21:
10992:
10991:
10987:
10986:
10985:
10983:
10982:
10981:
10842:
10841:
10840:
10835:
10804:
10783:
10764:Salon d'Automne
10722:
10693:Francis Picabia
10616:
10584:
10578:
10569:FĂ©lix Vallotton
10554:Maximilien Luce
10469:Marius Borgeaud
10449:Charles Angrand
10432:
10383:
10377:
10373:
10370:
10340:
10335:
10251:
10171:
10138:
10117:
10098:
10055:
9801:Vahine no te vi
9721:
9586:
9563:Study of a Nude
9545:
9540:
9497:www.Gauguin.org
9409:
9304:
9302:Further reading
9294:
9273:
9246:
9208:Sweetman, David
9193:
9127:
9096:
9072:
9058:Van Wyck Brooks
8991:
8910:Gauguin's Skirt
8874:
8840:
8797:
8765:
8755:
8753:
8735:
8731:
8721:
8719:
8709:
8705:
8670:
8666:
8656:
8654:
8642:
8638:
8631:
8617:
8613:
8606:
8592:
8588:
8573:
8569:
8559:
8557:
8548:
8547:
8543:
8535:
8531:
8526:
8522:
8517:
8513:
8508:
8504:
8499:
8495:
8487:
8483:
8478:
8474:
8469:
8465:
8457:
8453:
8448:
8444:
8436:
8432:
8424:
8420:
8412:
8408:
8400:
8396:
8388:
8384:
8376:
8372:
8364:
8360:
8352:
8348:
8340:
8336:
8328:
8321:
8316:
8312:
8307:
8303:
8295:
8291:
8283:
8276:
8268:
8264:
8256:
8252:
8247:
8243:
8238:
8234:
8229:
8225:
8220:
8216:
8203:
8201:
8186:
8182:
8165:
8161:
8137:
8133:
8120:
8116:
8108:
8104:
8097:
8082:
8075:
8071:
8060:
8053:
8043:
8041:
8034:The Independent
8026:
8025:
8021:
7998:
7994:
7984:
7982:
7970:
7966:
7956:
7954:
7937:
7936:
7932:
7922:
7920:
7919:on 4 March 2016
7916:
7901:
7897:
7896:
7892:
7884:
7880:
7872:
7868:
7859:
7858:
7854:
7845:
7844:
7840:
7832:
7828:
7822:Danielsson 1965
7820:
7816:
7810:Danielsson 1965
7808:
7804:
7796:
7792:
7787:
7783:
7777:Danielsson 1965
7775:
7771:
7757:
7753:
7740:
7739:
7735:
7722:
7718:
7695:
7691:
7678:
7674:
7666:
7662:
7656:Danielsson 1965
7654:
7650:
7637:
7636:
7632:
7626:Danielsson 1965
7624:
7620:
7601:
7597:
7580:
7579:
7575:
7563:
7559:
7553:Danielsson 1965
7551:
7544:
7529:
7525:
7519:Danielsson 1965
7517:
7513:
7505:
7498:
7494:Goddard p. 279.
7493:
7489:
7472:
7471:
7467:
7461:Danielsson 1965
7459:
7455:
7447:
7443:
7437:Danielsson 1965
7435:
7431:
7422:
7421:
7417:
7411:Danielsson 1965
7409:
7405:
7398:telegraph.co.uk
7392:
7391:
7387:
7381:Danielsson 1965
7379:
7375:
7369:Danielsson 1965
7367:
7363:
7357:Danielsson 1965
7355:
7351:
7345:Danielsson 1965
7343:
7339:
7333:Danielsson 1965
7331:
7327:
7321:Danielsson 1965
7319:
7315:
7307:
7303:
7277:
7273:
7268:
7264:
7258:Danielsson 1965
7256:
7252:
7247:
7240:
7219:
7218:
7214:
7206:
7199:
7190:
7189:
7185:
7180:
7171:
7165:Danielsson 1965
7163:
7159:
7153:Danielsson 1965
7151:
7147:
7141:Danielsson 1965
7139:
7135:
7129:Danielsson 1965
7127:
7123:
7106:
7105:
7101:
7088:
7084:
7071:
7070:
7066:
7055:
7051:
7041:
7037:
7032:
7028:
7022:Danielsson 1965
7020:
7016:
7010:Danielsson 1965
7008:
7004:
6998:Danielsson 1965
6996:
6992:
6984:
6977:
6971:Danielsson 1965
6969:
6965:
6957:
6950:
6944:Danielsson 1965
6942:
6935:
6929:Danielsson 1965
6927:
6923:
6917:Danielsson 1969
6915:
6911:
6905:Danielsson 1965
6903:
6899:
6894:
6887:
6881:Danielsson 1969
6879:
6875:
6867:
6863:
6857:Danielsson 1965
6855:
6851:
6845:Danielsson 1965
6843:
6839:
6828:alaintruong.com
6820:
6816:
6795:
6794:
6790:
6784:Danielsson 1965
6782:
6778:
6772:Danielsson 1969
6770:
6766:
6753:
6749:
6741:
6737:
6731:Danielsson 1965
6729:
6725:
6717:
6713:
6697:
6693:
6676:
6675:
6671:
6662:
6661:
6657:
6649:
6645:
6637:
6633:
6627:Danielsson 1965
6625:
6621:
6610:The Independent
6598:
6594:
6586:
6582:
6576:Danielsson 1965
6574:
6570:
6559:telegraph.co.uk
6551:
6547:
6539:
6535:
6527:
6523:
6515:
6511:
6505:Danielsson 1965
6503:
6499:
6491:
6487:
6470:
6469:
6465:
6457:
6453:
6445:
6441:
6433:
6429:
6421:
6417:
6404:
6400:
6390:
6388:
6375:
6374:
6370:
6362:
6358:
6350:
6346:
6338:
6334:
6323:
6319:
6308:
6304:
6296:
6292:
6279:
6275:
6270:
6266:
6258:
6254:
6246:
6242:
6237:
6233:
6225:
6221:
6217:Mathews p. 200.
6216:
6212:
6197:
6196:
6192:
6184:
6180:
6175:
6171:
6158:Dario Gamboni,
6157:
6153:
6136:
6135:
6128:
6118:
6116:
6108:
6107:
6103:
6095:
6088:
6071:
6070:
6066:
6058:
6054:
6033:
6029:
6018:
6014:
6006:
6002:
5997:
5993:
5983:
5981:
5969:
5965:
5957:
5950:
5942:
5938:
5930:
5926:
5918:
5914:
5906:
5902:
5896:Danielsson 1969
5894:
5890:
5863:
5859:
5851:
5847:
5839:
5835:
5819:
5815:
5807:
5803:
5795:
5791:
5783:
5779:
5773:The Independent
5770:
5766:
5761:
5757:
5749:
5745:
5737:
5733:
5725:
5721:
5717:Stuckey p. 260.
5716:
5712:
5704:
5697:
5682:
5675:
5660:
5656:
5652:Stuckey p. 231.
5651:
5647:
5639:
5635:
5630:
5626:
5618:
5611:
5603:
5599:
5591:
5587:
5574:
5573:
5566:
5558:
5554:
5533:
5529:
5521:
5517:
5512:
5508:
5503:
5499:
5490:
5489:
5482:
5477:
5473:
5462:
5458:
5449:
5445:
5440:
5436:
5428:
5424:Plohn, George.
5422:
5418:
5411:
5395:
5388:
5374:
5372:
5363:"Gauguin, Paul"
5361:
5360:
5356:
5348:
5344:
5339:
5335:
5327:
5320:
5312:
5308:
5300:
5296:
5288:
5284:
5261:
5257:
5249:
5245:
5241:Thompson p. 38.
5240:
5236:
5228:
5224:
5216:
5212:
5204:
5200:
5192:
5188:
5180:
5176:
5168:
5164:
5151:
5144:
5130:
5123:
5113:
5111:
5110:on 2 April 2015
5096:
5092:
5084:
5077:
5069:
5065:
5057:
5053:
5045:
5041:
5033:
5029:
5021:
5017:
5009:
5005:
4997:
4993:
4976:
4975:
4971:
4964:
4944:
4940:
4915:
4911:
4903:
4899:
4891:
4887:
4879:
4875:
4867:
4863:
4855:
4851:
4843:
4839:
4831:
4827:
4819:
4815:
4807:
4803:
4795:
4791:
4783:
4779:
4771:
4767:
4759:
4755:
4747:
4743:
4731:
4727:
4719:
4715:
4707:
4703:
4682:Salon d'Automne
4679:
4675:
4654:Salon d'Automne
4651:
4647:
4637:
4635:
4625:
4621:
4611:
4609:
4599:
4598:
4594:
4584:
4582:
4571:
4570:
4566:
4557:
4552:
4551:
4541:
4537:
4519:
4515:
4503:Herman Melville
4496:
4492:
4487:
4483:
4473:Egyptian fresco
4465:a temple frieze
4454:
4450:
4445:
4421:
4414:
4407:
4402:
4400:
4397:
4390:
4384:
4375:
4366:
4357:
4348:
4339:
4330:
4321:
4309:
4300:
4290:
4281:
4269:
4260:
4249:
4240:
4227:
4218:
4215:Van Gogh Museum
4208:
4199:
4186:
4177:
4164:
4153:Self-portraits:
4148:
4147:(1901 or 1902)
4142:
4133:
4127:
4118:
4110:
4101:
4095:
4086:
4080:
4071:
4065:
4056:
4050:
4041:
4038:(The Royal End)
4032:
4023:
4017:
4008:
4000:
3991:
3983:
3974:
3966:
3957:
3951:
3942:
3933:
3924:
3918:
3909:
3903:
3894:
3888:
3872:
3855:
3668:Sergei Shchukin
3650:
3601:myriorama cards
3520:colour printing
3504:
3503:
3502:
3501:
3500:
3491:
3483:
3482:
3473:
3462:
3435:L'Ăcho de Paris
3395:Parahi te maras
3327:
3293:Salon d'Automne
3250:John Richardson
3202:Salon d'Automne
3182:
3089:
3054:
3034:Maison du Jouir
2960:
2958:Museum Folkwang
2951:
2942:
2940:Museum Folkwang
2933:
2924:
2915:
2906:
2897:
2888:
2879:
2849:
2839:
2832:
2827:
2808:Past and Future
2753:André Fontainas
2681:
2678:
2633:
2553:
2546:
2470:Maison du Jouir
2401:Maison du Jouir
2399:Door lintel at
2393:
2386:
2377:
2368:
2355:
2346:
2337:
2318:
2314:
2311:
2309:
2257:
2255:Gabriel Frizeau
2128:, the other by
2103:
2096:
2083:
2074:
2063:
2054:
2045:
2036:
2024:
2012:EugĂšne CarriĂšre
1990:
1942:
1874:Oviri (Sauvage)
1849:
1842:
1832:
1823:
1808:
1799:
1790:
1781:
1771:
1719:
1694:
1660:
1645:
1569:Belinda Thomson
1542:
1520:Before the Race
1498:
1453:
1452:
1451:
1450:
1449:
1440:
1432:
1431:
1429:Museum Folkwang
1422:
1411:
1334:Van Gogh Museum
1319:
1312:
1309:Van Gogh Museum
1302:
1293:
1287:
1278:
1275:Van Gogh Museum
1268:
1259:
1256:Bord de Mer II,
1253:
1244:
1234:
1167:
1131:
1124:
1109:
1100:
1087:
1042:Japanese prints
1015:
1008:
999:
990:
981:
972:
963:
954:
945:
929:1889 exhibition
807:
800:
790:
781:
771:
762:
753:
744:
735:
645:
643:First paintings
593:
566:merchant marine
554:
532:
528:
527:
519:Tristan Moscoso
464:
459:
420:spiritual world
288:
263:
259:
227:
224:
221: 1893)
212:
208:
205:
197:
194: 1894)
185:
181:
178:
115:
102:
98:
89:
83:
77:
75:
74:
73:
63:
62:Gauguin in 1891
51:
42:
28:
23:
22:
15:
12:
11:
5:
10990:
10980:
10979:
10974:
10969:
10964:
10959:
10954:
10949:
10947:French sailors
10944:
10939:
10934:
10929:
10924:
10919:
10914:
10909:
10904:
10899:
10894:
10889:
10884:
10879:
10874:
10869:
10864:
10859:
10854:
10837:
10836:
10834:
10833:
10828:
10823:
10818:
10812:
10810:
10806:
10805:
10803:
10802:
10797:
10791:
10789:
10785:
10784:
10782:
10781:
10776:
10774:Salon des Cent
10771:
10766:
10761:
10756:
10751:
10746:
10741:
10736:
10730:
10728:
10724:
10723:
10721:
10720:
10715:
10710:
10705:
10700:
10695:
10690:
10685:
10683:Jean Metzinger
10680:
10675:
10673:Sonia Lewitska
10670:
10665:
10660:
10655:
10653:Albert Gleizes
10650:
10645:
10640:
10635:
10633:Charles Camoin
10630:
10628:Georges Braque
10624:
10622:
10618:
10617:
10615:
10614:
10609:
10604:
10599:
10594:
10588:
10586:
10580:
10579:
10577:
10576:
10571:
10566:
10561:
10556:
10551:
10549:Georges Lemmen
10546:
10541:
10536:
10531:
10529:Georges Seurat
10526:
10521:
10516:
10514:Henri Rousseau
10511:
10506:
10501:
10496:
10491:
10486:
10481:
10476:
10471:
10466:
10464:Pierre Bonnard
10461:
10456:
10451:
10446:
10440:
10438:
10434:
10433:
10431:
10430:
10425:
10420:
10415:
10408:
10403:
10398:
10393:
10387:
10385:
10379:
10378:
10369:
10368:
10361:
10354:
10346:
10337:
10336:
10334:
10333:
10332:
10331:
10321:
10316:
10308:
10300:
10296:Paradise Found
10292:
10284:
10276:
10268:
10259:
10257:
10253:
10252:
10250:
10249:
10244:
10239:
10234:
10229:
10224:
10219:
10217:Meijer de Haan
10214:
10209:
10204:
10198:
10192:
10186:
10179:
10177:
10173:
10172:
10170:
10169:
10163:
10153:
10146:
10144:
10140:
10139:
10137:
10136:
10131:
10125:
10123:
10119:
10118:
10116:
10115:
10106:
10104:
10100:
10099:
10097:
10096:
10088:
10080:
10072:
10063:
10061:
10057:
10056:
10054:
10053:
10045:
10037:
10029:
10021:
10013:
10005:
9997:
9989:
9981:
9973:
9965:
9957:
9949:
9941:
9933:
9925:
9917:
9909:
9905:Mahana no atua
9901:
9893:
9885:
9877:
9869:
9861:
9853:
9845:
9837:
9829:
9821:
9813:
9805:
9797:
9789:
9781:
9773:
9765:
9757:
9753:Ia Orana Maria
9749:
9741:
9733:
9725:
9710:
9702:
9694:
9686:
9678:
9670:
9662:
9654:
9646:
9638:
9630:
9622:
9614:
9606:
9598:
9590:
9575:
9567:
9559:
9553:
9551:
9547:
9546:
9539:
9538:
9531:
9524:
9516:
9510:
9509:
9500:
9493:
9481:
9476:
9465:
9457:
9452:
9443:
9434:
9429:
9424:
9419:
9408:
9407:External links
9405:
9404:
9403:
9393:
9378:
9362:
9352:
9347:
9333:
9319:
9303:
9300:
9299:
9298:
9292:
9277:
9271:
9250:
9244:
9223:
9205:
9191:
9166:
9159:
9141:
9131:
9125:
9107:
9100:
9094:
9079:
9076:
9070:
9047:
9040:
9003:
8989:
8964:
8935:
8927:Milan: Skira.
8921:
8906:
8892:
8878:
8872:
8859:
8844:
8838:
8816:
8801:
8795:
8770:
8769:
8764:
8763:
8729:
8703:
8684:(1): 197â213.
8664:
8636:
8629:
8611:
8604:
8586:
8567:
8541:
8529:
8520:
8511:
8502:
8493:
8491:, p. 119.
8481:
8472:
8463:
8451:
8442:
8430:
8418:
8406:
8394:
8382:
8370:
8358:
8346:
8334:
8319:
8310:
8301:
8289:
8274:
8262:
8250:
8241:
8232:
8223:
8221:Sweetman, 563.
8214:
8180:
8178:, pp. 168â215.
8159:
8131:
8114:
8112:, p. 213.
8102:
8095:
8069:
8051:
8019:
7992:
7964:
7943:musee-orsay.fr
7930:
7890:
7888:, p. 255.
7878:
7876:, p. 204.
7866:
7852:
7838:
7836:, p. 257.
7826:
7824:, p. 275.
7814:
7812:, p. 274.
7802:
7790:
7781:
7769:
7758:Paul Gauguin,
7751:
7733:
7716:
7699:"Albert Boime"
7689:
7672:
7660:
7658:, p. 264.
7648:
7630:
7628:, p. 252.
7618:
7595:
7573:
7557:
7555:, p. 262.
7542:
7523:
7511:
7509:, p. 247.
7496:
7487:
7465:
7463:, p. 259.
7453:
7451:, p. 202.
7441:
7429:
7415:
7403:
7385:
7383:, p. 258.
7373:
7371:, p. 248.
7361:
7359:, p. 213.
7349:
7347:, p. 212.
7337:
7335:, p. 211.
7325:
7323:, p. 179.
7313:
7311:, p. 246.
7301:
7271:
7262:
7260:, p. 244.
7250:
7248:Childs p. 312.
7238:
7212:
7210:, p. 243.
7197:
7183:
7169:
7157:
7155:, p. 255.
7145:
7143:, p. 241.
7133:
7121:
7099:
7082:
7064:
7057:Paul Gauguin,
7049:
7035:
7026:
7024:, p. 256.
7014:
7012:, p. 240.
7002:
7000:, p. 238.
6990:
6988:, p. 239.
6975:
6963:
6948:
6946:, p. 249.
6933:
6931:, p. 234.
6921:
6909:
6907:, p. 232.
6897:
6885:
6873:
6861:
6859:, p. 228.
6849:
6847:, p. 182.
6837:
6814:
6788:
6786:, p. 209.
6776:
6764:
6747:
6745:, p. 234.
6735:
6723:
6711:
6691:
6682:musee-orsay.fr
6669:
6655:
6643:
6631:
6619:
6592:
6580:
6578:, p. 163.
6568:
6545:
6533:
6531:, p. 190.
6521:
6509:
6497:
6495:, p. 233.
6485:
6463:
6451:
6439:
6427:
6425:, p. 188.
6415:
6398:
6368:
6366:, p. 215.
6356:
6344:
6332:
6317:
6302:
6290:
6273:
6264:
6252:
6240:
6231:
6229:, p. 208.
6219:
6210:
6190:
6178:
6169:
6151:
6142:musee-orsay.fr
6126:
6101:
6099:, p. 181.
6086:
6077:musee-orsay.fr
6064:
6052:
6027:
6012:
6000:
5991:
5963:
5961:, p. 188.
5948:
5946:, p. 166.
5936:
5934:, p. 193.
5924:
5922:, p. 174.
5912:
5910:, p. 156.
5900:
5888:
5857:
5855:, p. 187.
5845:
5833:
5825:Ia Orana Maria
5813:
5811:, p. 133.
5801:
5789:
5787:, p. 143.
5777:
5764:
5755:
5753:, p. 127.
5743:
5731:
5729:, p. 125.
5719:
5710:
5708:, p. 123.
5695:
5673:
5654:
5645:
5633:
5624:
5609:
5597:
5585:
5564:
5552:
5527:
5525:, p. 284.
5515:
5506:
5497:
5480:
5471:
5456:
5454:, 1 June 1997.
5443:
5434:
5416:
5409:
5386:
5354:
5342:
5333:
5318:
5306:
5294:
5282:
5255:
5243:
5234:
5222:
5210:
5198:
5186:
5174:
5162:
5142:
5121:
5090:
5088:, p. 182.
5075:
5063:
5061:, p. 210.
5051:
5049:, p. 194.
5039:
5027:
5015:
5003:
4991:
4969:
4962:
4956:. p. 49.
4938:
4927:. p. 44.
4909:
4897:
4885:
4873:
4861:
4849:
4837:
4825:
4813:
4801:
4789:
4777:
4765:
4753:
4741:
4725:
4713:
4701:
4673:
4645:
4619:
4592:
4563:
4562:
4561:
4556:
4553:
4550:
4549:
4535:
4513:
4505:'s celebrated
4490:
4481:
4447:
4446:
4444:
4441:
4440:
4439:
4434:
4427:
4426:
4412:
4396:
4393:
4392:
4391:
4385:
4378:
4376:
4367:
4360:
4358:
4351:Self-portrait,
4349:
4342:
4340:
4331:
4324:
4322:
4310:
4303:
4301:
4293:Self-portrait,
4291:
4284:
4282:
4270:
4263:
4261:
4250:
4243:
4241:
4228:
4221:
4219:
4211:Self-portrait,
4209:
4202:
4200:
4189:Self-portrait,
4187:
4180:
4178:
4167:Self-portrait,
4165:
4158:
4150:
4149:
4143:
4136:
4134:
4128:
4121:
4119:
4111:
4104:
4102:
4096:
4089:
4087:
4083:The Midday Nap
4081:
4074:
4072:
4066:
4059:
4057:
4051:
4044:
4042:
4033:
4026:
4024:
4018:
4011:
4009:
4001:
3994:
3992:
3984:
3977:
3975:
3967:
3960:
3958:
3952:
3945:
3943:
3934:
3927:
3925:
3919:
3912:
3910:
3904:
3897:
3895:
3889:
3882:
3871:
3868:
3854:
3851:
3847:Pierre Bonnard
3825:
3824:
3815:
3811:Paradise Found
3792:
3781:Alison Croggon
3765:
3730:
3702:
3701:
3672:Pushkin Museum
3656:Paul Gauguin,
3649:
3646:
3638:Persian carpet
3492:
3485:
3484:
3474:
3467:
3466:
3465:
3464:
3463:
3461:
3458:
3457:
3456:
3448:
3447:
3326:
3323:
3227:David Sweetman
3181:
3178:
3132:Georges Braque
3088:
3085:
3053:
3050:
2962:
2961:
2952:
2945:
2943:
2934:
2927:
2925:
2922:Pushkin Museum
2916:
2909:
2907:
2898:
2891:
2889:
2880:
2873:
2848:
2845:
2833:Paul Gauguin,
2830:
2798:Avant et aprĂšs
2676:
2672:history of art
2544:
2392:
2389:
2388:
2387:
2378:
2371:
2369:
2356:
2349:
2347:
2338:
2331:
2192:Pleumeur-Bodou
2182:nevertheless.
2156:horse and trap
2102:
2099:
2098:
2097:
2092:series, 1894,
2084:
2077:
2075:
2065:Paul Gauguin,
2064:
2057:
2055:
2046:
2039:
2037:
2025:
2018:
1988:Charles Morice
1909:Mahana no atua
1899:Mahana no atua
1861:Alphonse Mucha
1848:
1845:
1844:
1843:
1833:
1826:
1824:
1809:
1802:
1800:
1791:
1784:
1782:
1772:
1765:
1591:Ia Orana Maria
1584:Fatata te Miti
1554:Octave Mirbeau
1541:
1538:
1441:
1434:
1433:
1423:
1416:
1415:
1414:
1413:
1412:
1410:
1407:
1375:straight razor
1318:
1315:
1314:
1313:
1303:
1296:
1294:
1288:
1281:
1279:
1269:
1262:
1260:
1254:
1247:
1245:
1235:
1228:
1214:Lafcadio Hearn
1166:
1163:
1130:
1127:
1126:
1125:
1110:
1103:
1101:
1088:
1081:
1014:
1011:
1010:
1009:
1000:
993:
991:
982:
975:
973:
964:
957:
955:
946:
939:
841:Georges Seurat
806:
803:
802:
801:
791:
784:
782:
772:
765:
763:
754:
747:
745:
736:
729:
644:
641:
592:
589:
553:
550:
463:
460:
458:
455:
314:wood engraving
251:
250:
247:
246:
238:
237:
233:
232:
229:
228:
226:
225:
210:
206:
201:
200:
198:
183:
179:
176:
175:
172:
170:
166:
165:
164:
163:
158:
153:
146:
142:
141:
140:
139:
134:
129:
126:
121:
120:Known for
117:
116:
103:
101:(aged 54)
95:
91:
90:
84:
71:
69:
65:
64:
61:
53:
52:
49:
26:
9:
6:
4:
3:
2:
10989:
10978:
10975:
10973:
10970:
10968:
10965:
10963:
10960:
10958:
10955:
10953:
10950:
10948:
10945:
10943:
10940:
10938:
10935:
10933:
10930:
10928:
10925:
10923:
10920:
10918:
10915:
10913:
10910:
10908:
10905:
10903:
10900:
10898:
10895:
10893:
10890:
10888:
10885:
10883:
10880:
10878:
10875:
10873:
10870:
10868:
10865:
10863:
10860:
10858:
10855:
10853:
10850:
10849:
10847:
10832:
10829:
10827:
10824:
10822:
10819:
10817:
10816:Impressionism
10814:
10813:
10811:
10807:
10801:
10800:Albert Aurier
10798:
10796:
10793:
10792:
10790:
10786:
10780:
10777:
10775:
10772:
10770:
10767:
10765:
10762:
10760:
10757:
10755:
10752:
10750:
10747:
10745:
10742:
10740:
10737:
10735:
10732:
10731:
10729:
10725:
10719:
10716:
10714:
10713:Jean Marchand
10711:
10709:
10706:
10704:
10701:
10699:
10698:Pablo Picasso
10696:
10694:
10691:
10689:
10688:Henry Ottmann
10686:
10684:
10681:
10679:
10676:
10674:
10671:
10669:
10666:
10664:
10661:
10659:
10656:
10654:
10651:
10649:
10648:Henri Matisse
10646:
10644:
10641:
10639:
10636:
10634:
10631:
10629:
10626:
10625:
10623:
10619:
10613:
10610:
10608:
10607:Expressionism
10605:
10603:
10600:
10598:
10595:
10593:
10590:
10589:
10587:
10583:20th-century
10581:
10575:
10572:
10570:
10567:
10565:
10562:
10560:
10557:
10555:
10552:
10550:
10547:
10545:
10544:Charles Laval
10542:
10540:
10537:
10535:
10532:
10530:
10527:
10525:
10524:Paul SĂ©rusier
10522:
10520:
10517:
10515:
10512:
10510:
10507:
10505:
10502:
10500:
10497:
10495:
10492:
10490:
10487:
10485:
10484:Maurice Denis
10482:
10480:
10477:
10475:
10472:
10470:
10467:
10465:
10462:
10460:
10457:
10455:
10454:Ămile Bernard
10452:
10450:
10447:
10445:
10442:
10441:
10439:
10435:
10429:
10426:
10424:
10421:
10419:
10416:
10414:
10413:
10409:
10407:
10404:
10402:
10399:
10397:
10394:
10392:
10389:
10388:
10386:
10382:19th-century
10380:
10376:
10367:
10362:
10360:
10355:
10353:
10348:
10347:
10344:
10330:
10327:
10326:
10325:
10322:
10320:
10317:
10314:
10313:
10309:
10306:
10305:
10301:
10298:
10297:
10293:
10290:
10289:
10285:
10282:
10281:
10277:
10274:
10273:
10272:Lust for Life
10269:
10266:
10265:
10261:
10260:
10258:
10254:
10248:
10245:
10243:
10242:Theo van Gogh
10240:
10238:
10235:
10233:
10230:
10228:
10225:
10223:
10222:Charles Laval
10220:
10218:
10215:
10213:
10210:
10208:
10207:Ămile Bernard
10205:
10203:(grandmother)
10202:
10201:Flora Tristan
10199:
10196:
10193:
10190:
10187:
10184:
10181:
10180:
10178:
10174:
10167:
10164:
10161:
10157:
10154:
10151:
10148:
10147:
10145:
10141:
10135:
10132:
10130:
10127:
10126:
10124:
10120:
10113:
10112:
10108:
10107:
10105:
10101:
10094:
10093:
10089:
10086:
10085:
10081:
10078:
10077:
10073:
10070:
10069:
10065:
10064:
10062:
10058:
10051:
10050:
10046:
10043:
10042:
10038:
10035:
10034:
10030:
10027:
10026:
10022:
10019:
10018:
10014:
10011:
10010:
10006:
10003:
10002:
9998:
9995:
9994:
9990:
9987:
9986:
9982:
9979:
9978:
9974:
9971:
9970:
9966:
9963:
9962:
9958:
9955:
9954:
9950:
9947:
9946:
9942:
9939:
9938:
9934:
9931:
9930:
9926:
9923:
9922:
9918:
9915:
9914:
9913:Nave nave moe
9910:
9907:
9906:
9902:
9899:
9898:
9894:
9891:
9890:
9886:
9883:
9882:
9878:
9875:
9874:
9870:
9867:
9866:
9862:
9859:
9858:
9854:
9851:
9850:
9846:
9843:
9842:
9838:
9835:
9834:
9830:
9827:
9826:
9822:
9819:
9818:
9814:
9811:
9810:
9806:
9803:
9802:
9798:
9795:
9794:
9790:
9787:
9786:
9782:
9779:
9778:
9777:Early Evening
9774:
9771:
9770:
9766:
9763:
9762:
9758:
9755:
9754:
9750:
9747:
9746:
9742:
9739:
9738:
9734:
9731:
9730:
9726:
9716:
9715:
9711:
9708:
9707:
9703:
9700:
9699:
9695:
9692:
9691:
9687:
9684:
9683:
9679:
9676:
9675:
9671:
9668:
9667:
9663:
9660:
9659:
9655:
9652:
9651:
9647:
9644:
9643:
9639:
9636:
9635:
9631:
9628:
9627:
9623:
9620:
9619:
9615:
9612:
9611:
9607:
9604:
9603:
9599:
9596:
9595:
9591:
9581:
9580:
9576:
9573:
9572:
9568:
9565:
9564:
9560:
9558:
9555:
9554:
9552:
9548:
9544:
9537:
9532:
9530:
9525:
9523:
9518:
9517:
9514:
9508:
9504:
9501:
9499:
9498:
9494:
9491:
9487:
9486:
9482:
9480:
9477:
9474:
9469:
9466:
9463:
9462:
9458:
9456:
9453:
9451:
9447:
9444:
9442:
9438:
9435:
9433:
9430:
9428:
9425:
9423:
9420:
9418:
9414:
9411:
9410:
9401:
9397:
9394:
9391:
9387:
9383:
9379:
9377:
9375:
9370:
9366:
9363:
9360:
9358:
9353:
9351:
9348:
9344:
9343:
9338:
9334:
9330:
9329:
9324:
9320:
9316:
9315:
9310:
9306:
9305:
9295:
9289:
9285:
9284:
9278:
9274:
9272:0-500-20220-6
9268:
9264:
9259:
9258:
9251:
9247:
9241:
9237:
9233:
9229:
9224:
9221:
9220:0-684-80941-9
9217:
9213:
9209:
9206:
9202:
9198:
9194:
9192:0-8212-1723-2
9188:
9184:
9180:
9176:
9172:
9167:
9164:
9160:
9157:
9153:
9149:
9145:
9142:
9139:
9135:
9132:
9128:
9126:0-300-09109-5
9122:
9118:
9117:
9112:
9108:
9105:
9101:
9097:
9095:0-670-91497-5
9091:
9087:
9086:
9080:
9077:
9073:
9067:
9063:
9059:
9055:
9054:
9048:
9045:
9041:
9037:
9033:
9029:
9025:
9021:
9017:
9013:
9009:
9004:
9000:
8996:
8992:
8990:0-8212-1723-2
8986:
8982:
8978:
8974:
8970:
8965:
8961:
8957:
8953:
8949:
8945:
8941:
8936:
8934:
8930:
8926:
8922:
8919:
8915:
8911:
8907:
8904:. p. 29.
8903:
8902:
8897:
8893:
8889:
8888:
8883:
8879:
8875:
8869:
8865:
8860:
8857:
8853:
8849:
8845:
8841:
8839:0-500-30007-0
8835:
8831:
8827:
8826:
8821:
8817:
8813:
8809:
8808:
8802:
8798:
8796:0-7148-1481-4
8792:
8788:
8783:
8782:
8776:
8775:Bowness, Alan
8772:
8771:
8767:
8766:
8752:
8748:
8744:
8740:
8733:
8718:
8714:
8707:
8699:
8695:
8691:
8687:
8683:
8679:
8675:
8668:
8653:
8652:
8647:
8640:
8632:
8626:
8622:
8615:
8607:
8601:
8597:
8590:
8582:
8578:
8571:
8555:
8551:
8545:
8538:
8533:
8524:
8515:
8506:
8497:
8490:
8485:
8476:
8467:
8461:, p. 11.
8460:
8455:
8446:
8440:, p. 38.
8439:
8434:
8427:
8422:
8416:, p. 13.
8415:
8410:
8404:, p. 53.
8403:
8398:
8392:, p. 75.
8391:
8386:
8380:, p. 50.
8379:
8374:
8367:
8362:
8356:, p. 45.
8355:
8350:
8344:, p. 52.
8343:
8338:
8332:, p. 33.
8331:
8326:
8324:
8314:
8305:
8299:, p. 10.
8298:
8293:
8287:, p. 15.
8286:
8281:
8279:
8271:
8266:
8259:
8254:
8245:
8236:
8227:
8218:
8211:
8200:
8199:
8194:
8190:
8184:
8177:
8175:
8169:
8163:
8156:
8155:0-87587-041-4
8152:
8149:
8145:
8141:
8135:
8128:
8124:
8118:
8111:
8106:
8098:
8092:
8089:. BBC. 2006.
8088:
8081:
8080:
8073:
8066:
8065:
8058:
8056:
8039:
8035:
8030:
8023:
8015:
8011:
8010:Hyperallergic
8007:
8003:
7996:
7981:
7980:
7975:
7968:
7952:
7948:
7947:Musée D'Orsay
7944:
7940:
7934:
7915:
7911:
7907:
7900:
7894:
7887:
7882:
7875:
7870:
7862:
7856:
7848:
7842:
7835:
7830:
7823:
7818:
7811:
7806:
7799:
7794:
7785:
7778:
7773:
7767:
7763:
7762:
7755:
7747:
7743:
7737:
7731:
7728:, p. 178, at
7727:
7726:
7720:
7712:
7708:
7704:
7700:
7693:
7687:
7684:, p. 160, at
7683:
7682:
7676:
7669:
7664:
7657:
7652:
7644:
7640:
7634:
7627:
7622:
7614:
7611:(in French).
7610:
7609:liberation.fr
7606:
7599:
7591:
7587:
7583:
7577:
7571:
7569:
7561:
7554:
7549:
7547:
7539:
7535:
7534:
7527:
7520:
7515:
7508:
7503:
7501:
7491:
7483:
7479:
7475:
7469:
7462:
7457:
7450:
7445:
7438:
7433:
7425:
7419:
7412:
7407:
7399:
7395:
7389:
7382:
7377:
7370:
7365:
7358:
7353:
7346:
7341:
7334:
7329:
7322:
7317:
7310:
7305:
7297:
7293:
7289:
7285:
7281:
7275:
7266:
7259:
7254:
7245:
7243:
7234:
7230:
7229:metmuseum.org
7226:
7224:
7216:
7209:
7204:
7202:
7193:
7187:
7181:Szech p. 148.
7178:
7176:
7174:
7166:
7161:
7154:
7149:
7142:
7137:
7130:
7125:
7117:
7113:
7112:newadvent.org
7109:
7103:
7095:
7094:
7086:
7078:
7074:
7068:
7061:
7060:
7053:
7046:
7045:
7039:
7030:
7023:
7018:
7011:
7006:
6999:
6994:
6987:
6982:
6980:
6972:
6967:
6960:
6955:
6953:
6945:
6940:
6938:
6930:
6925:
6919:, p. 26.
6918:
6913:
6906:
6901:
6892:
6890:
6883:, p. 25.
6882:
6877:
6870:
6865:
6858:
6853:
6846:
6841:
6833:
6829:
6825:
6818:
6810:
6806:
6802:
6798:
6792:
6785:
6780:
6774:, p. 18.
6773:
6768:
6760:
6759:
6751:
6744:
6739:
6732:
6727:
6720:
6715:
6708:
6704:
6700:
6695:
6687:
6686:Musée d'Orsay
6683:
6679:
6673:
6665:
6659:
6652:
6647:
6640:
6635:
6628:
6623:
6615:
6611:
6607:
6603:
6596:
6589:
6584:
6577:
6572:
6564:
6560:
6556:
6549:
6542:
6537:
6530:
6525:
6518:
6513:
6506:
6501:
6494:
6489:
6481:
6477:
6473:
6467:
6460:
6455:
6448:
6443:
6436:
6431:
6424:
6419:
6413:
6410:, p. PT6, at
6409:
6408:
6402:
6386:
6382:
6378:
6372:
6365:
6360:
6353:
6348:
6341:
6336:
6328:
6321:
6313:
6306:
6299:
6294:
6288:
6284:
6283:
6277:
6268:
6261:
6256:
6249:
6244:
6235:
6228:
6223:
6214:
6206:
6205:
6200:
6194:
6187:
6182:
6173:
6167:
6163:
6162:
6155:
6147:
6146:Musée d'Orsay
6143:
6139:
6133:
6131:
6115:
6111:
6105:
6098:
6093:
6091:
6082:
6081:Musée d'Orsay
6078:
6074:
6068:
6061:
6056:
6048:
6044:
6043:
6038:
6031:
6024:
6023:
6016:
6009:
6004:
5995:
5980:
5979:
5974:
5967:
5960:
5955:
5953:
5945:
5940:
5933:
5928:
5921:
5916:
5909:
5904:
5898:, p. 24.
5897:
5892:
5884:
5880:
5876:
5872:
5868:
5861:
5854:
5849:
5842:
5837:
5830:
5826:
5822:
5817:
5810:
5805:
5798:
5793:
5786:
5781:
5774:
5768:
5759:
5752:
5747:
5740:
5735:
5728:
5723:
5714:
5707:
5702:
5700:
5692:
5688:
5687:
5680:
5678:
5670:
5666:
5665:
5658:
5649:
5642:
5637:
5628:
5622:, p. 16.
5621:
5616:
5614:
5607:, p. 17.
5606:
5601:
5594:
5589:
5581:
5578:(in French).
5577:
5571:
5569:
5561:
5556:
5549:
5548:0-87099-477-8
5545:
5541:
5537:
5531:
5524:
5519:
5510:
5501:
5493:
5487:
5485:
5475:
5467:
5460:
5453:
5447:
5438:
5427:
5420:
5412:
5410:0-671-22563-4
5406:
5402:
5401:
5393:
5391:
5383:
5370:
5369:
5364:
5358:
5351:
5346:
5337:
5330:
5325:
5323:
5315:
5310:
5303:
5298:
5291:
5286:
5278:
5274:
5270:
5266:
5259:
5252:
5247:
5238:
5231:
5226:
5220:, p. 56.
5219:
5214:
5207:
5202:
5195:
5190:
5183:
5178:
5172:, p. 22.
5171:
5166:
5159:
5155:
5149:
5147:
5140:
5136:
5135:
5128:
5126:
5109:
5105:
5101:
5094:
5087:
5082:
5080:
5073:, p. 29.
5072:
5067:
5060:
5055:
5048:
5043:
5037:, p. 38.
5036:
5031:
5025:, p. 62.
5024:
5019:
5012:
5007:
5001:, p. 27.
5000:
4995:
4987:
4983:
4979:
4973:
4965:
4959:
4955:
4951:
4950:
4942:
4934:
4930:
4926:
4923:(in French).
4922:
4921:
4913:
4907:, p. 18.
4906:
4901:
4895:, p. 14.
4894:
4889:
4882:
4877:
4870:
4865:
4858:
4853:
4846:
4841:
4834:
4829:
4822:
4817:
4810:
4805:
4798:
4793:
4786:
4781:
4774:
4769:
4762:
4757:
4750:
4745:
4738:
4734:
4729:
4722:
4717:
4710:
4705:
4697:
4693:
4689:
4688:
4683:
4677:
4669:
4665:
4661:
4660:
4655:
4649:
4634:
4630:
4623:
4608:
4607:
4602:
4596:
4580:
4579:
4574:
4568:
4564:
4559:
4558:
4546:
4539:
4531:
4527:
4523:
4517:
4510:
4509:
4504:
4500:
4494:
4485:
4478:
4474:
4470:
4466:
4462:
4458:
4452:
4448:
4438:
4435:
4432:
4429:
4428:
4424:
4418:
4413:
4410:
4399:
4389:
4382:
4377:
4374:
4373:Musée d'Orsay
4370:
4364:
4359:
4356:
4352:
4346:
4341:
4338:
4334:
4333:Self-portrait
4328:
4323:
4320:
4319:Musée d'Orsay
4316:
4314:
4313:Self-portrait
4307:
4302:
4298:
4297:Musée d'Orsay
4294:
4288:
4283:
4279:
4275:
4274:
4267:
4262:
4259:
4255:
4254:
4247:
4242:
4238:
4234:
4232:
4225:
4220:
4216:
4212:
4206:
4201:
4198:
4194:
4190:
4184:
4179:
4176:
4172:
4168:
4162:
4157:
4156:
4155:
4154:
4146:
4140:
4135:
4131:
4125:
4120:
4116:
4115:
4108:
4103:
4099:
4093:
4088:
4084:
4078:
4073:
4069:
4063:
4058:
4054:
4048:
4043:
4039:
4037:
4030:
4025:
4021:
4015:
4010:
4006:
4005:
3998:
3993:
3989:
3988:
3981:
3976:
3972:
3971:
3964:
3959:
3955:
3949:
3944:
3940:
3938:
3931:
3926:
3922:
3921:Les Alyscamps
3916:
3911:
3907:
3901:
3896:
3892:
3886:
3881:
3880:
3879:
3877:
3867:
3865:
3860:
3850:
3848:
3844:
3843:
3837:
3835:
3831:
3822:
3821:
3816:
3813:
3812:
3807:
3803:
3799:
3798:
3793:
3790:
3786:
3782:
3778:
3774:
3770:
3766:
3763:
3759:
3755:
3754:
3749:
3745:
3742:and won the
3741:
3740:
3739:Lust for Life
3735:
3734:Anthony Quinn
3731:
3728:
3727:Flora Tristan
3724:
3723:
3718:
3714:
3713:
3708:
3704:
3703:
3699:
3698:
3697:
3695:
3694:Qatar Museums
3691:
3687:
3683:
3682:
3677:
3673:
3669:
3661:
3660:
3654:
3645:
3643:
3639:
3635:
3634:Cambodian art
3631:
3627:
3621:
3617:
3613:
3611:
3606:
3602:
3598:
3594:
3593:Vollard Suite
3589:
3585:
3582:
3575:
3571:
3567:
3560:
3556:
3550:
3546:
3542:
3538:
3536:
3532:
3528:
3527:Noa Noa Suite
3523:
3521:
3517:
3513:
3512:Volpini Suite
3509:
3499:
3495:
3489:
3481:
3477:
3471:
3454:
3453:
3452:
3444:
3443:
3442:
3441:. He states:
3440:
3436:
3431:
3429:
3425:
3421:
3417:
3411:
3409:
3404:
3396:
3392:
3388:
3385:
3381:
3377:
3372:
3370:
3366:
3362:
3358:
3354:
3350:
3346:
3339:
3335:
3331:
3321:
3319:
3314:
3310:
3306:
3302:
3301:Musée d'Orsay
3298:
3294:
3290:
3284:
3281:
3279:
3274:
3270:
3266:
3265:
3258:
3253:
3251:
3246:
3244:
3240:
3236:
3232:
3228:
3223:
3221:
3220:
3215:
3214:primitive art
3211:
3210:Pablo Picasso
3207:
3203:
3195:
3194:Musée d'Orsay
3191:
3186:
3177:
3175:
3171:
3167:
3163:
3159:
3157:
3153:
3149:
3145:
3141:
3137:
3133:
3129:
3128:Pablo Picasso
3125:
3124:Henri Matisse
3121:
3117:
3113:
3108:
3106:
3102:
3101:Pablo Picasso
3098:
3093:
3084:
3082:
3076:
3074:
3070:
3066:
3062:
3061:
3049:
3047:
3041:
3039:
3035:
3031:
3023:
3019:
3015:
3011:
3008:
3004:
3000:
2994:
2991:
2987:
2983:
2974:
2970:
2968:
2959:
2955:
2949:
2944:
2941:
2937:
2931:
2926:
2923:
2919:
2913:
2908:
2905:
2901:
2895:
2890:
2887:
2883:
2877:
2872:
2871:
2870:
2867:
2861:
2857:
2853:
2844:
2836:
2829:
2823:
2821:
2817:
2813:
2809:
2805:
2801:
2799:
2793:
2790:
2786:
2782:
2778:
2777:L'Indepéndant
2773:
2769:
2768:Croix du Sud,
2764:
2762:
2758:
2754:
2750:
2746:
2742:
2738:
2733:
2729:
2725:
2724:
2719:
2718:
2713:
2706:
2702:
2698:
2694:
2692:
2688:
2675:
2673:
2666:
2664:
2660:
2656:
2650:
2648:
2643:
2637:
2632:
2631:Ădouard Petit
2627:
2625:
2621:
2617:
2613:
2609:
2608:
2603:
2599:
2595:
2591:
2587:
2583:
2579:
2575:
2571:
2568:of these are
2565:
2563:
2559:
2550:
2543:
2541:
2534:
2532:
2524:
2520:
2516:
2513:
2508:
2503:
2500:
2496:
2495:PĂšre Paillard
2492:
2487:
2485:
2481:
2480:
2475:
2471:
2462:
2458:
2454:
2450:
2446:
2444:
2440:
2435:
2433:
2429:
2421:
2417:
2412:
2406:
2405:Musée d'Orsay
2402:
2397:
2385:
2381:
2375:
2370:
2366:
2362:
2360:
2353:
2348:
2345:
2341:
2335:
2330:
2329:
2328:
2326:
2306:
2304:
2300:
2296:
2291:
2289:
2285:
2277:
2273:
2269:
2265:
2261:
2256:
2252:
2248:
2247:
2237:
2233:
2232:
2227:
2223:
2221:
2220:open fracture
2217:
2211:
2209:
2205:
2201:
2197:
2193:
2189:
2183:
2180:
2176:
2172:
2170:
2165:
2161:
2157:
2152:
2150:
2145:
2140:
2139:
2133:
2131:
2127:
2126:Emile Bernard
2123:
2122:
2112:
2107:
2095:
2091:
2088:, woodcut in
2087:
2081:
2076:
2072:
2068:
2061:
2056:
2053:
2049:
2043:
2038:
2035:
2031:
2029:
2028:Nave nave moe
2022:
2017:
2016:
2015:
2013:
2008:
2004:
2002:
2001:
1994:
1989:
1985:
1981:
1977:
1973:
1969:
1968:
1962:
1960:
1956:
1950:
1946:
1941:
1937:
1933:
1932:
1927:
1923:
1919:
1917:
1916:Nave nave moe
1912:
1910:
1901:
1900:
1895:
1888:
1884:
1880:
1879:Musée d'Orsay
1876:
1875:
1869:
1862:
1858:
1853:
1840:
1839:Musée d'Orsay
1836:
1830:
1825:
1822:
1818:
1814:
1813:
1806:
1801:
1798:
1794:
1788:
1783:
1780:
1776:
1769:
1764:
1763:
1762:
1760:
1759:Musée d'Orsay
1756:
1755:
1750:
1749:
1744:
1743:
1738:
1734:
1730:
1726:
1723:
1718:
1712:
1710:
1704:
1702:
1698:
1693:
1688:
1684:
1680:
1676:
1675:
1670:
1664:
1659:
1655:
1649:
1644:
1639:
1637:
1633:
1629:
1625:
1621:
1620:
1615:
1608:
1604:
1600:
1596:
1594:
1592:
1587:
1585:
1580:
1576:
1575:
1570:
1566:
1561:
1559:
1555:
1551:
1547:
1537:
1535:
1534:
1529:
1528:Ădouard Manet
1525:
1521:
1517:
1513:
1509:
1505:
1502:
1497:
1492:
1488:
1481:
1476:
1472:
1470:
1466:
1461:
1458:
1448:
1444:
1443:Valérie Roumi
1438:
1430:
1426:
1420:
1406:
1404:
1403:
1396:
1394:
1393:
1388:
1384:
1380:
1376:
1371:
1367:
1362:
1360:
1355:
1352:, whose firm
1351:
1347:
1343:
1335:
1331:
1327:
1323:
1310:
1306:
1300:
1295:
1291:
1285:
1280:
1276:
1272:
1266:
1261:
1257:
1251:
1246:
1242:
1238:
1232:
1227:
1226:
1225:
1223:
1217:
1215:
1211:
1207:
1203:
1197:
1194:
1190:
1186:
1179:
1175:
1171:
1162:
1158:
1156:
1152:
1148:
1144:
1143:Charles Laval
1135:
1123:
1119:
1118:Charles Laval
1115:
1114:
1107:
1102:
1099:, Buffalo, NY
1098:
1094:
1092:
1085:
1080:
1079:
1078:
1076:
1072:
1068:
1067:
1063:In Gauguin's
1061:
1059:
1055:
1054:Ămile Bernard
1051:
1047:
1043:
1039:
1032:
1028:
1024:
1023:Impressionist
1019:
1007:
1003:
1002:Breton Bather
997:
992:
989:
985:
979:
974:
971:
967:
961:
956:
953:
949:
948:Women Bathing
943:
938:
937:
936:
934:
931:organized by
930:
926:
922:
921:Impressionism
918:
914:
910:
906:
905:Ămile Bernard
901:
899:
894:
890:
886:
882:
877:
875:
871:
867:
866:Charles Laval
862:
857:
855:
852:
848:
847:
842:
838:
834:
829:
823:
819:
817:
811:
798:
794:
788:
783:
779:
775:
769:
764:
761:
757:
751:
746:
743:
739:
733:
728:
727:
726:
723:
721:
717:
711:
709:
705:
701:
698:In 1882, the
696:
694:
689:
688:Impressionist
685:
680:
678:
674:
670:
666:
659:
655:
654:
649:
640:
636:
634:
630:
626:
622:
618:
614:
606:
602:
597:
588:
586:
582:
578:
574:
573:Gustave Arosa
569:
567:
563:
559:
549:
546:
541:
539:
523:
520:
516:
512:
508:
504:
498:
496:
495:Flora Tristan
491:
482:
476:
472:
468:
454:
452:
451:Theo van Gogh
448:
444:
443:Henri Matisse
440:
439:Pablo Picasso
436:
432:
428:
425:
421:
415:
413:
409:
405:
401:
397:
393:
392:French colony
389:
385:
381:
377:
373:
368:
366:
365:Impressionist
362:
358:
354:
350:
346:
342:
338:
334:
329:
327:
326:Impressionism
323:
319:
315:
311:
307:
303:
299:
294:
284:
257:
248:
244:
239:
234:
230:
204:
199:
174:
173:
171:
167:
162:
159:
157:
154:
152:
149:
148:
147:
143:
138:
135:
133:
130:
127:
124:
123:
122:
118:
114:
110:
106:
96:
92:
88:
70:
66:
59:
54:
47:
44:
40:
36:
34:
19:
10957:Paul Gauguin
10831:Secessionism
10795:Félix Fénéon
10718:Othon Friesz
10638:André Derain
10509:Odilon Redon
10494:Paul Gauguin
10493:
10474:Paul CĂ©zanne
10459:Edvard Munch
10410:
10310:
10302:
10294:
10286:
10278:
10270:
10262:
10189:Pola Gauguin
10168:(Martinique)
10129:Les XX, 1889
10109:
10090:
10082:
10074:
10066:
10047:
10039:
10031:
10023:
10015:
10007:
9999:
9991:
9983:
9975:
9967:
9959:
9951:
9943:
9935:
9927:
9919:
9911:
9903:
9895:
9887:
9879:
9871:
9865:Arii Matamoe
9863:
9857:Aha Oe Feii?
9855:
9847:
9839:
9831:
9823:
9815:
9807:
9799:
9791:
9783:
9775:
9769:Conversation
9767:
9759:
9751:
9743:
9735:
9727:
9712:
9704:
9696:
9688:
9680:
9672:
9664:
9656:
9648:
9640:
9632:
9624:
9616:
9608:
9600:
9592:
9577:
9569:
9561:
9543:Paul Gauguin
9542:
9496:
9484:
9468:Paul Gauguin
9460:
9413:Paul Gauguin
9399:
9396:Rewald, John
9381:
9373:
9364:
9356:
9341:
9327:
9313:
9282:
9256:
9228:Paul Gauguin
9227:
9211:
9174:
9162:
9147:
9137:
9134:Rewald, John
9115:
9103:
9084:
9052:
9043:
9011:
9007:
8972:
8939:
8924:
8909:
8900:
8886:
8863:
8847:
8830:New Horizons
8824:
8806:
8780:
8754:. Retrieved
8742:
8732:
8720:. Retrieved
8716:
8706:
8681:
8677:
8667:
8655:. Retrieved
8651:The Guardian
8649:
8639:
8620:
8614:
8595:
8589:
8580:
8570:
8558:. Retrieved
8554:the original
8544:
8532:
8523:
8514:
8505:
8496:
8484:
8475:
8466:
8459:Bowness 1971
8454:
8445:
8433:
8421:
8414:Walther 2000
8409:
8402:Walther 2000
8397:
8390:Walther 2000
8385:
8378:Walther 2000
8373:
8366:Walther 2000
8361:
8349:
8337:
8313:
8304:
8297:Bowness 1971
8292:
8285:Bowness 1971
8272:, p. 5.
8270:Bowness 1971
8265:
8260:, p. 7.
8258:Walther 2000
8253:
8244:
8235:
8226:
8217:
8209:
8202:. Retrieved
8196:
8183:
8171:
8167:
8162:
8134:
8117:
8110:Mathews 2001
8105:
8078:
8072:
8062:
8042:. Retrieved
8033:
8022:
8005:
7995:
7983:. Retrieved
7977:
7967:
7955:. Retrieved
7951:the original
7942:
7933:
7921:. Retrieved
7914:the original
7906:sothebys.com
7905:
7893:
7886:Mathews 2001
7881:
7874:Thomson 1987
7869:
7855:
7841:
7834:Mathews 2001
7829:
7817:
7805:
7798:Mathews 2001
7793:
7784:
7772:
7766:Google Books
7764:, p. 68, at
7759:
7754:
7745:
7736:
7730:Google Books
7723:
7719:
7706:
7702:
7692:
7686:Google Books
7679:
7675:
7668:Mathews 2001
7663:
7651:
7642:
7633:
7621:
7608:
7598:
7585:
7576:
7570:to Monfreid.
7567:
7560:
7538:Google Books
7536:, p. 87, at
7531:
7526:
7514:
7507:Mathews 2001
7490:
7477:
7468:
7456:
7449:Thomson 1987
7444:
7432:
7418:
7406:
7397:
7388:
7376:
7364:
7352:
7340:
7328:
7316:
7309:Mathews 2001
7304:
7292:Tate Britain
7287:
7274:
7265:
7253:
7228:
7222:
7215:
7208:Mathews 2001
7186:
7160:
7148:
7136:
7124:
7111:
7102:
7091:
7085:
7067:
7058:
7052:
7043:
7038:
7029:
7017:
7005:
6993:
6986:Mathews 2001
6966:
6959:Mathews 2001
6924:
6912:
6900:
6876:
6869:Mathews 2001
6864:
6852:
6840:
6827:
6817:
6809:the original
6800:
6791:
6779:
6767:
6756:
6750:
6743:Mathews 2001
6738:
6726:
6719:Thomson 1987
6714:
6709:, pp. 225â9.
6702:
6694:
6681:
6672:
6658:
6651:Mathews 2001
6646:
6639:Thomson 1987
6634:
6622:
6605:
6595:
6588:Thomson 1987
6583:
6571:
6558:
6548:
6541:Mathews 2001
6536:
6529:Thomson 1987
6524:
6517:Thomson 1987
6512:
6500:
6493:Mathews 2001
6488:
6475:
6466:
6459:Mathews 2001
6454:
6447:Mathews 2001
6442:
6435:Mathews 2001
6430:
6423:Thomson 1987
6418:
6412:Google Books
6405:
6401:
6389:. Retrieved
6385:the original
6380:
6371:
6364:Mathews 2001
6359:
6352:Mathews 2001
6347:
6340:Thomson 1987
6335:
6326:
6320:
6311:
6305:
6298:Mathews 2001
6293:
6287:Google Books
6285:, p. 47, at
6280:
6276:
6267:
6260:Mathews 2001
6255:
6248:Mathews 2001
6243:
6234:
6227:Mathews 2001
6222:
6213:
6202:
6193:
6186:Mathews 2001
6181:
6172:
6166:Google Books
6164:, p. 96, at
6159:
6154:
6141:
6117:. Retrieved
6113:
6104:
6097:Thomson 1987
6076:
6067:
6060:Mathews 2001
6055:
6040:
6030:
6021:
6015:
6008:Mathews 2001
6003:
5994:
5982:. Retrieved
5976:
5966:
5959:Mathews 2001
5944:Thomson 1987
5939:
5932:Mathews 2001
5927:
5920:Mathews 2001
5915:
5908:Thomson 1987
5903:
5891:
5874:
5870:
5860:
5853:Mathews 2001
5848:
5841:Thomson 1987
5836:
5824:
5821:Thomson 1987
5816:
5809:Thomson 1987
5804:
5797:Thomson 1987
5792:
5785:Thomson 1987
5780:
5772:
5767:
5758:
5751:Thomson 1987
5746:
5739:Thomson 1987
5734:
5727:Thomson 1987
5722:
5713:
5691:Google Books
5689:, p. 56, at
5684:
5669:Google Books
5667:, p. 57, at
5662:
5657:
5648:
5636:
5627:
5600:
5588:
5560:Thomson 1987
5555:
5535:
5530:
5523:Gayford 2006
5518:
5509:
5500:
5474:
5459:
5451:
5446:
5437:
5419:
5399:
5380:
5373:. Retrieved
5366:
5357:
5350:Mathews 2001
5345:
5336:
5329:Thomson 1987
5314:Mathews 2001
5309:
5302:Mathews 2001
5297:
5290:Thomson 1987
5285:
5277:the original
5268:
5258:
5251:Mathews 2001
5246:
5237:
5230:Mathews 2001
5225:
5218:Mathews 2001
5213:
5206:Mathews 2001
5201:
5194:Thomson 1987
5189:
5182:Mathews 2001
5177:
5170:Thomson 1987
5165:
5157:
5152:Cindy Kang,
5139:Google Books
5137:, p. 32, at
5132:
5112:. Retrieved
5108:the original
5103:
5093:
5086:Thomson 1987
5071:Thomson 1987
5066:
5059:Mathews 2001
5054:
5047:Mathews 2001
5042:
5035:Thomson 1987
5030:
5023:Mathews 2001
5018:
5011:Mathews 2001
5006:
4999:Thomson 1987
4994:
4981:
4972:
4948:
4941:
4919:
4912:
4905:Mathews 2001
4900:
4893:Mathews 2001
4888:
4881:Gayford 2006
4876:
4869:Bowness 1971
4864:
4857:Bowness 1971
4852:
4845:Bowness 1971
4840:
4833:Bowness 1971
4828:
4821:Bowness 1971
4816:
4811:, p. 3.
4809:Bowness 1971
4804:
4797:Bowness 1971
4792:
4785:Bowness 1971
4780:
4773:Bowness 1971
4768:
4761:Bowness 1971
4756:
4749:Bowness 1971
4744:
4737:Napoleon III
4733:Bowness 1971
4728:
4721:Bowness 1971
4716:
4709:Bowness 1971
4704:
4686:
4676:
4658:
4648:
4636:. Retrieved
4632:
4622:
4610:. Retrieved
4604:
4595:
4583:. Retrieved
4576:
4567:
4544:
4538:
4530:Eliphas Levi
4526:Albert Boime
4521:
4516:
4506:
4493:
4484:
4460:
4457:Odilon Redon
4451:
4368:
4350:
4332:
4311:
4292:
4280:, Copenhagen
4271:
4251:
4229:
4210:
4188:
4166:
4152:
4151:
4144:
4129:
4112:
4097:
4082:
4067:
4052:
4036:Arii Matamoe
4034:
4019:
4004:Aha Oe Feii?
4002:
3985:
3968:
3953:
3935:
3920:
3905:
3890:
3873:
3856:
3840:
3838:
3826:
3818:
3809:
3795:
3788:
3776:
3775:(1943); and
3773:Paul Gauguin
3772:
3751:
3737:
3720:
3710:
3679:
3665:
3657:
3642:Oriental rug
3630:Egyptian art
3622:
3618:
3614:
3592:
3587:
3578:
3569:
3558:
3544:
3526:
3524:
3511:
3505:
3493:
3475:
3449:
3432:
3427:
3423:
3416:supernatural
3412:
3400:
3394:
3375:
3373:
3342:
3333:
3312:
3308:
3305:Demoiselles.
3304:
3296:
3286:
3282:
3277:
3272:
3268:
3262:
3260:
3255:
3247:
3238:
3234:
3224:
3217:
3199:
3189:
3173:
3169:
3165:
3160:
3136:André Derain
3109:
3090:
3077:
3072:
3058:
3055:
3042:
3033:
3027:
3018:Maternité II
3017:
3006:
3002:
2999:Maternité II
2998:
2995:
2989:
2979:
2963:
2953:
2935:
2917:
2899:
2881:
2868:
2864:
2855:
2841:
2834:
2825:
2811:
2807:
2803:
2796:
2794:
2788:
2784:
2780:
2776:
2767:
2765:
2760:
2756:
2748:
2744:
2740:
2736:
2731:
2727:
2721:
2715:
2711:
2709:
2700:
2686:
2683:
2671:
2668:
2651:
2646:
2641:
2628:
2619:
2615:
2612:third gender
2605:
2597:
2585:
2577:
2573:
2569:
2566:
2561:
2557:
2555:
2548:
2539:
2536:
2530:
2528:
2522:
2511:
2504:
2498:
2494:
2490:
2488:
2483:
2477:
2473:
2469:
2466:
2456:
2447:
2436:
2428:tuberculosis
2424:
2415:
2400:
2379:
2357:
2339:
2307:
2299:hectographed
2294:
2292:
2280:
2271:
2250:
2244:
2241:
2238:, Boston, MA
2229:
2212:
2207:
2203:
2199:
2187:
2184:
2178:
2174:
2167:
2163:
2159:
2153:
2136:
2134:
2119:
2116:
2089:
2085:
2071:LudÄk Marold
2067:Alfons Mucha
2047:
2026:
2009:
2005:
1998:
1979:
1975:
1965:
1963:
1954:
1951:
1935:
1929:
1926:Montparnasse
1914:
1907:
1905:
1897:
1887:Odilon Redon
1882:
1872:
1834:
1810:
1792:
1774:
1752:
1746:
1740:
1728:
1715:
1713:
1705:
1690:
1682:
1672:
1668:
1653:
1640:
1617:
1613:
1611:
1602:
1589:
1586:(By the Sea)
1582:
1572:
1562:
1550:HĂŽtel Drouot
1543:
1531:
1523:
1519:
1515:
1511:
1507:
1496:Te faaturuma
1494:
1487:Claude Monet
1484:
1462:
1454:
1442:
1424:
1400:
1397:
1390:
1383:hospitalized
1366:Yellow House
1363:
1339:
1329:
1304:
1289:
1271:At the Pond,
1270:
1255:
1243:, Washington
1236:
1221:
1218:
1198:
1193:repatriation
1185:Saint Pierre
1182:
1173:
1159:
1155:Panama Canal
1140:
1129:Panama Canal
1111:
1089:
1064:
1062:
1052:to describe
1035:
1001:
983:
965:
947:
902:
897:
892:
884:
880:
878:
858:
844:
832:
830:
826:
813:
799:, Copenhagen
792:
776:c. 1880â81,
773:
755:
737:
724:
712:
708:Paul CĂ©zanne
700:stock market
697:
692:
681:
662:
651:
637:
610:
577:Paris Bourse
570:
555:
542:
524:
499:
487:
470:
416:
369:
363:, a leading
330:
255:
254:
99:(1903-05-08)
50:Paul Gauguin
43:
33:Paul Gauguin
32:
10857:1903 deaths
10852:1848 births
10727:Exhibitions
10534:Paul Signac
10504:Paul Ranson
10428:Art Nouveau
10406:Cloisonnism
10401:Pointillism
10396:Divisionism
10315:(2018 film)
10299:(2003 film)
10291:(1986 film)
10283:(1960 film)
10275:(1956 film)
10267:(1942 film)
10122:Exhibitions
10114:(1899â1900)
10103:Periodicals
10060:Other works
9988:(1897/1898)
9945:Eiaha Ohipa
9876:(1892â1894)
9722: 1890
9587: 1887
9236:Hatje Cantz
9181:. pp.
8979:. pp.
8537:Cachin 1992
8489:Cachin 1992
8438:Cachin 1992
8426:Cachin 1992
8354:Cachin 1992
8342:Cachin 1992
8330:Cachin 1992
7985:27 February
7288:tate.org.uk
6391:22 February
5706:Cachin 1992
5641:Cachin 1992
5620:Cachin 1992
5605:Cachin 1992
5593:Cachin 1992
5538:(exh. cat.
4335:, c. 1893,
4295:1889â1890,
4217:, Amsterdam
4171:Fogg Museum
4169:1875â1877,
3864:patriarchal
3859:Primitivist
3748:Oscar Isaac
3610:chiaroscuro
3581:watercolour
3516:lithography
3508:zincographs
3494:Aha oe feii
3460:Other media
3439:synesthesia
3237:edition of
3231:Paco Durrio
3206:avant-garde
3162:John Rewald
3092:Primitivism
3040:in Tahiti.
3003:Maternité I
2820:existential
2812:gendarmerie
2789:gendarmerie
2634: [
2602:androgynous
2578:Jeune fille
2432:gendarmerie
2418:at Atuona,
2258: [
2208:avant-garde
1991: [
1943: [
1922:Durand-Ruel
1821:Buffalo, NY
1757:now in the
1720: [
1695: [
1661: [
1646: [
1593:(Ave Maria)
1499: [
1457:Edgar Degas
1409:Edgar Degas
1336:, Amsterdam
1311:, Amsterdam
1277:, Amsterdam
1206:marsh fever
1071:Renaissance
1046:Cloisonnism
1004:, 1886â87,
984:Breton Girl
893:avant-garde
854:Pointillist
846:avant-garde
621:Paul Rollon
435:avant-garde
431:exhibitions
400:colonialist
380:native life
353:self-taught
345:exhibitions
156:Primitivism
82:7 June 1848
10846:Categories
10826:Modern art
10678:Franz Marc
10643:Raoul Dufy
10597:Die BrĂŒcke
10444:Cuno Amiet
10418:Synthetism
10197:(grandson)
10111:Le Sourire
9873:The Siesta
8933:8861304583
8044:17 January
7613:Libération
7116:New Advent
7077:Christie's
6314:: 332â339.
6025:pp. 63â69.
5984:9 December
4933:B0014QL91I
4668:2011228502
4638:21 January
4581:. ArtServe
4560:References
4533:democracy.
3787:wrote his
3116:Modern art
3081:illiterate
2993:Monfreid.
2781:Les GuĂȘpes
2728:Les GuĂȘpes
2647:Les GuĂȘpes
2598:Le Sorcier
2586:Le sorcier
2295:Le Sourire
2216:Concarneau
2179:Les GuĂȘpes
2050:, (1893),
1737:Teha'amana
1624:Polynesian
1469:monotyping
1342:Martinique
1340:Gauguin's
1189:Martinique
1165:Martinique
1075:Synthetism
874:Martinique
720:Copenhagen
625:Copenhagen
601:Copenhagen
402:tropes of
384:landscapes
376:Martinique
322:Synthetist
298:printmaker
203:Teha'amana
161:Synthetism
97:8 May 1903
78:1848-06-07
10821:Modernism
10585:movements
10423:Symbolism
10412:Les Nabis
10384:movements
9993:Nevermore
9977:Vairumati
9969:The Queen
9550:Paintings
9036:193429511
8751:0362-4331
8690:0027-1276
7910:Sotheby's
7474:"Noa Noa"
7223:Two Women
7073:"Therese"
6476:artic.edu
5883:0007-6287
5273:About.com
4982:getty.edu
4499:Nuku Hiva
4469:Borobudur
4145:Two Women
4098:Maternity
3893:(c. 1880)
3709:'s novel
3676:Hermitage
3605:symbolism
3584:monotypes
3428:Ta Matete
3367:and poet
3334:Ta Matete
3289:stoneware
3222:in 1907.
3105:Primitive
3075:(1937).
3065:Jean René
3010:in 2004.
2691:Nuku Hiva
2558:Two Women
2361:(O Taiti)
2359:Nevermore
2144:Puna'auia
2124:; one by
2111:Puna'auia
1984:Symbolist
1857:harmonium
1516:Racetrack
1202:dysentery
1120:), 1886,
1058:cloisonné
913:Symbolist
909:Pont-Aven
861:Pont-Aven
673:Vaugirard
633:tarpaulin
617:Jean René
457:Biography
404:exoticism
390:, then a
341:galleries
310:Symbolist
236:Signature
137:engraving
128:sculpture
10152:(Tahiti)
10033:The Call
9618:The Wave
9490:BBC Four
9367:, Paul (
9339:(2002).
9325:(2002).
9311:(1964).
9210:(1995).
9201:88-81005
9146:(1991).
9136:(1986).
9113:(2001).
9028:20462786
8999:88-81005
8960:5430689M
8952:73077306
8898:(1969).
8884:(1965).
8822:(1992).
8756:19 March
8722:19 March
8698:90021833
8191:(2001).
8146:and the
8038:Archived
8014:Archived
7957:16 March
7923:16 March
7564:Gauguin
7296:Archived
6832:Archived
6801:moma.org
6758:Art News
6614:Archived
6563:Archived
6073:"Tehura"
6047:Archived
5550:, p. 62.
5114:20 March
4925:Hachette
4696:43031163
4684:(1906).
4656:(1903).
4395:See also
4371:, 1896,
4276:, 1889.
3674:and the
3612:effect.
3408:folk art
3384:woodcuts
3336:, 1892,
3235:La Plume
3052:Children
3020:, 1899,
2967:laudanum
2956:, 1902,
2938:, 1902,
2920:, 1902,
2902:, 1903,
2884:, 1902,
2831:â
2732:La Plume
2717:La Plume
2677:â
2663:laudanum
2659:morphine
2610:(i.e. a
2545:â
2540:terrible
2459:, 1902,
2403:, 1901,
2367:, London
2363:, 1897,
2303:monotype
2194:, where
2032:, 1894,
1795:, 1892,
1733:Tahitian
1636:Tahitian
1605:, 1891,
1427:, 1902,
1332:, 1888,
1307:, 1887,
1095:, 1889,
1038:folk art
986:, 1886,
968:, 1886,
950:, 1885,
925:Japonism
820:, 1886,
780:, ZĂŒrich
758:, 1879,
740:, 1879,
656:, 1880,
591:Marriage
515:Dragoons
511:Arequipa
509:city of
507:Peruvian
473:, 1889,
408:Tahitian
372:Brittany
318:woodcuts
302:ceramist
145:Movement
132:ceramics
125:Painting
10917:Fauvism
10809:Related
10788:Critics
10621:Artists
10592:Fauvism
10437:Artists
10256:Related
10160:Hiva Oa
10143:Museums
9841:Te Fare
9825:Arearea
9448:at the
9415:at the
9365:Gauguin
9314:Gauguin
9283:Gauguin
9257:Gauguin
8781:Gauguin
8768:Sources
8657:3 April
8560:12 July
8204:10 June
7592:. 1951.
7566:Letter
7484:. 1897.
7059:ThérÚse
6701:(2001)
6482:. 1900.
6138:"Oviri"
6119:26 July
6022:Noa Noa
5827:to the
5582:. 1923.
5375:10 June
4988:. 2004.
4471:and an
4461:La Mort
4299:, Paris
3870:Gallery
3684:became
3588:Noa Noa
3535:reliefs
3531:woodcut
3349:Raphael
3318:Iberian
3252:wrote:
3196:, Paris
3148:Orphism
3140:Fauvism
3007:vahine,
2772:Apataki
2712:Noa Noa
2499:ThérÚse
2443:Hiva-Oa
2317:⁄
2090:Noa Noa
2000:Le Soir
1980:Noa Noa
1955:Noa Noa
1936:persona
1841:, Paris
1717:Noa Noa
1579:Papeari
1565:Papeete
1533:Olympia
1387:Antwerp
1379:brothel
629:Denmark
605:Denmark
531:⁄
503:Spanish
447:Vincent
289:French:
223:
211:
207:
196:
184:
180:
169:Spouses
85:Paris,
18:Gauguin
10739:Les XX
10612:Cubism
10176:People
10071:(1889)
10052:(1903)
10044:(1902)
10036:(1902)
10028:(1899)
10020:(1899)
10012:(1899)
10004:(1899)
9996:(1897)
9980:(1897)
9972:(1896)
9964:(1896)
9956:(1896)
9948:(1896)
9940:(1894)
9932:(1894)
9924:(1894)
9916:(1894)
9908:(1894)
9900:(1893)
9892:(1893)
9884:(1893)
9868:(1892)
9860:(1892)
9852:(1892)
9844:(1892)
9836:(1892)
9828:(1892)
9820:(1892)
9812:(1892)
9804:(1892)
9796:(1892)
9788:(1892)
9780:(1892)
9772:(1891)
9764:(1891)
9756:(1891)
9748:(1891)
9740:(1891)
9732:(1891)
9709:(1889)
9701:(1889)
9693:(1889)
9685:(1889)
9677:(1889)
9669:(1889)
9661:(1889)
9653:(1889)
9645:(1889)
9637:(1889)
9629:(1888)
9621:(1888)
9613:(1888)
9605:(1888)
9597:(1888)
9574:(1886)
9566:(1880)
9388:
9290:
9269:
9242:
9218:
9199:
9189:
9183:210â95
9154:
9123:
9092:
9068:
9034:
9026:
8997:
8987:
8981:369â73
8958:
8950:
8931:
8916:
8870:
8854:
8836:
8793:
8749:
8696:
8688:
8627:
8602:
8153:
8125:
8093:
7586:bnf.fr
7478:bnf.fr
7093:Apollo
6329:: 359.
5881:
5546:
5407:
5371:. 2004
4960:
4931:
4694:
4666:
4477:Thebes
4353:1896,
4317:1893,
4235:1889,
4213:1888,
4191:1885,
4132:(1899)
4117:(1899)
4100:(1899)
4085:(1894)
4070:(1894)
4055:(1893)
4040:(1892)
4022:(1892)
4007:(1892)
3990:(1891)
3973:(1889)
3956:(1888)
3941:(1888)
3923:(1888)
3908:(1888)
3732:Actor
3648:Legacy
3626:Gothic
3380:binder
3353:Ingres
3345:Giotto
3313:Oviri.
3297:Oviri.
3273:Oviri,
3146:, and
3144:Cubism
3046:molars
2986:Atuona
2860:Atuona
2837:, 1903
2687:vahine
2642:vahine
2512:vahine
2491:vahine
2482:(i.e.
2472:(i.e.
2439:Atuona
2276:StÀdel
1815:1892,
1779:Louvre
1754:Tehura
1729:vahine
1546:Tahiti
1273:1887,
1239:1887,
1210:Indian
1176:1887,
1147:Taboga
933:Les XX
870:Panama
816:Breton
677:studio
613:Danish
607:, 1885
581:francs
424:dealer
388:Tahiti
347:. The
105:Atuona
35:(ship)
10191:(son)
10185:(son)
10092:Oviri
9889:Otahi
9032:S2CID
9024:JSTOR
8717:Artsy
8694:JSTOR
8083:(FLV)
7917:(PDF)
7902:(PDF)
7709:(1).
5429:(PDF)
4612:1 May
4585:1 May
4508:Typee
4443:Notes
3797:Oviri
3789:Elegy
3361:Manet
3309:Oviri
3264:Oviri
2990:Oviri
2856:Oviri
2847:Death
2816:Danes
2638:]
2594:Maohi
2572:and
2262:]
2138:colon
1995:]
1986:poet
1976:salon
1974:1895
1967:Oviri
1947:]
1931:salon
1883:Oviri
1731:(the
1724:]
1699:]
1674:Arioi
1667:1855
1665:]
1652:1837
1650:]
1503:]
1370:Arles
1151:ColĂłn
818:Women
814:Four
716:Rouen
562:pilot
213:(
209:
186:(
182:
10329:ship
9724:â91)
9386:ISBN
9288:ISBN
9267:ISBN
9240:ISBN
9216:ISBN
9197:LCCN
9187:ISBN
9152:ISBN
9121:ISBN
9090:ISBN
9066:ISBN
8995:LCCN
8985:ISBN
8948:LCCN
8929:ISBN
8914:ISBN
8868:ISBN
8852:ISBN
8834:ISBN
8791:ISBN
8758:2023
8747:ISSN
8724:2023
8686:ISSN
8659:2014
8625:ISBN
8600:ISBN
8562:2013
8206:2010
8151:ISBN
8123:ISBN
8091:ISBN
8046:2021
7987:2014
7959:2015
7925:2015
6393:2015
6204:LIFE
6121:2022
5986:2010
5879:ISSN
5544:ISBN
5405:ISBN
5377:2010
5116:2015
4958:ISBN
4929:ASIN
4692:LCCN
4664:LCCN
4640:2024
4614:2018
4587:2018
3640:and
3628:and
3426:and
3069:Pola
3028:The
2655:trap
2616:taua
2607:mÄhĆ«
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