L'exote, l'oviri, l'exilé : les singulières identités géographiques de Paul Gauguin // The exote, the oviri and the exiled : Gauguin's singular geographical identitites

2004 ◽  
Vol 113 (638) ◽  
pp. 363-384 ◽  
Author(s):  
Jean-François Staszak
Keyword(s):  
Paul Gauguin

scholarly journals References to Gauguin paintings in Somerset Maugham’s The moon and sixpence

Literator ◽  
2014 ◽  
Vol 35 (1) ◽  
Author(s):  
Laurence Wright
Keyword(s):  
The Novel ◽  
The Moon ◽  
The Public ◽  
Paul Gauguin ◽  
Works Of Art ◽  
Verbal Descriptions

It has not before been noticed that in describing works of art painted by his fictional anti-hero,Charles Strickland, in the novel The moon and sixpence, which is loosely based on the life of Paul Gauguin, Somerset Maugham drew on actual works by Gauguin in his verbal descriptions. Sometimes the references are to specific paintings, at others to phases in his work. For readers familiar with Gauguin’s artistic output, his writings on art and his biography, the effect of this insistent visual ‘quotation’ is to create a disturbing sense of aesthetic dissonance, in that it becomes difficult to accept the inarticulate, surly, impassioned but utterly grim and joyless figure of the fictional Charles Strickland as the source of these vivifying paintings, which possess their own real history and provenance. There is nothing in Strickland of Gauguin’s child-like zest for life, his exuberance, his fantasies, his extrovert willingness to explain his art to friends and the public through fascinating if deeply unreliable writings. The reader must either attempt to blot all knowledge of Gauguin and his art from consciousness, there by denying that Maugham is ‘quoting’ Gauguin’s oeuvre, or else submit to an intolerable level of fictional incredulity and disbelief.

scholarly journals Rosario Camacho y el arte contemporáneo: episodios.

2017 ◽  
pp. 387-388
Author(s):  
María Jesús Martínez Silvente
Keyword(s):  
Pablo Picasso ◽  
Paul Gauguin ◽  
Arte Contemporáneo

La primera vez que me encontré a Rosario Camacho en una inauguración de arte contemporáneo fue cuando estudiaba cuarto de carrera. Recuerdo que me extrañó verla. –¿Esta no es la profesora de Barroco? –le pregunté a Antonia Amor, mi compañera de banca. – Sí, tía, es Charo –afirmó con las cejas arrugadas en señal de asombro. Se trataba de la exposición de Xul Solar en la sala de exposiciones del Palacio Episcopal, allá por el año 98. Yo todavía no era consciente de la multiplicidad de caras que formaban el prisma de la Camacho, interesada tanto en las manifestaciones pasadas como en las presentes, en la arquitectura como en la escultura, en la pintura como en las artes decorativas. Las grandes figuras de la historia del arte contemporáneo –Pablo Picasso, Paul Gauguin, etc.– fueron analizadas por la profesora Camacho, demostrando que el estudio del arte es acumulativo, que no hay que elegir entre un período u otro, que puede llegarte con la misma intensidad una obra de Caravaggio y una de Pollock, que una iglesia románica puede resultarte tan bella como un puente de Calatrava… y que no pasa nada.

Modernistskiy ekfrasis v esse Mariny Tsvetayevoy „Natal'ya Goncharova. Zhizn' i tvorchestvo”

2021 ◽  
pp. 196-223
Author(s):  
Alexander Medvedev
Keyword(s):  
Martin Heidegger ◽  
20Th Century ◽  
Rainer Maria Rilke ◽  
Russian Philosophy ◽  
Avant Garde ◽  
European Context ◽  
Paul Gauguin ◽  
Ontological Turn ◽  
Friedrich Hölderlin ◽  
Stylistic Diversity

This article examines Marina Tsvetaeva’s modernist perception of the personality and paintings of the greatest representative of the Russian avant-garde of the 20th century in the essay “Natalia Goncharova. Life and Work” (“Наталья Гончарова. Жизнь и творчество”, 1929). Goncharova’s paintings that Tsvetaeva describes in her essay are indicated. The principles of modernist poetics and ekphrasis are revealed (lyrical subjectivism, ontology, consonance, anagrammatic disclosure of the inner form of a word, mythologization, reader co-creation, dialogism). The similarity between Tsvetaeva’s understanding of painting and poetry is compared to the ontological understanding of art by Martin Heidegger. This can be explained by the tradition of ontological poetry (Friedrich Hölderlin and Rainer Maria Rilke), which is important for both. The ontology of Goncharova’s painting is also considered in the context of the ontology of animals in Russian philosophy at the beginning of the 20th century (Vasily Rozanov) and in the Tahitian Painting of Paul Gauguin. Special attention is paid to ekphrastic poetics (style, tropes, consonance), with the help of which Tsvetaeva authentically transfers the ontologism of Goncharov’s painting in its stylistic diversity (cubism, neo-primitivism, rayonism) to the verbal level. Tsvetaeva and Goncharova in the respective Russian and European context (Gauguin, Rozanov, Heidegger, Rilke) appear as exponents of the ontological turn in the culture of the first half of the 20th century.

La “caméra-pinceau” d’Alain Resnais : Van Gogh, Guernica, Paul Gauguin

Ligeia ◽  
2007 ◽  
Vol N° 77-80 (2) ◽  
pp. 244
Author(s):  
Michel Cieutat
Keyword(s):  
Van Gogh ◽  
Paul Gauguin

Seurat, Georges-Pierre (1859–1891)

2018 ◽  
Author(s):  
Lynn M. Somers
Keyword(s):  
Pablo Picasso ◽  
Henri Matisse ◽  
Avant Garde ◽  
Sunday Afternoon ◽  
Paul Gauguin ◽  
Vincent Van Gogh ◽  
Painting Technique ◽  
French Painting ◽  
Gallery System ◽  
Figure Paintings

Born in Paris in 1859 to a bourgeois family, painter and draughtsman Georges-Pierre Seurat enjoyed a brief but mature career as the leading French Neo-Impressionist. His invention of Divisionism (or "chromo-luminarism"), a painting technique grounded in science and the study of optics, challenged the spontaneity and fluidity of Impressionism, which by the 1880s had been largely subsumed by a capitalist gallery system. In 1886, at the eighth and final Impressionist exhibition, Seurat debuted his monumental Sunday Afternoon on the Island of La Grande-Jatte (1884–1886), a "patient tapestry" of line and color that led the art critic and activist Félix Fénéon to coin the term néo-impressionisme. Equally shaped by the Renaissance frescoes of Piero della Francesca and the Baudelairean praise of the ephemerality of modern life, La Grande-Jatte symbolically closed a chapter in French painting. Seurat’s systematic aesthetic produced an indelible impact on fin de siècle artists such as Vincent van Gogh, Paul Gauguin, Henri de Toulouse-Lautrec, Henri Matisse, and later Pablo Picasso, Robert Delaunay, and André Breton’s Surrealism, firmly establishing him as integral to the 20th-century avant-garde. Seurat’s oeuvre includes approximately 500 drawings and 6 major figure paintings, an astonishing output for a career that lasted only 11 years.

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