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Gauguin, c. 1895, playing a harmonium at Alphonse Mucha's studio at rue de la Grande-Chaumière, Paris (Mucha photo) Paul Gauguin, 1894, Oviri (Sauvage), partially glazed stoneware, 75 x 19 x 27 cm, Musée d'Orsay, Paris. "The theme of Oviri is death, savagery, wildness. Oviri stands over a dead she-wolf, while crushing the life out of her cub."
The death of PÅmare V not long after Gauguin's arrival, as well as Gauguin's witnessing of a public execution by guillotine several years earlier, are both thought to have informed the work; [1] Gauguin would later write in Noa Noa , a collage book which includes a photograph of Arii Matamoe (Noa Noa was compiled after Gauguin's stay in Tahiti ...
Petukhov, senior researcher at the Pushkin Museum, believes that this image was borrowed by Gauguin from the Parthenon frieze, photographs of which Gauguin took with him to Tahiti, [3] whereas Bengt Danielsson believes the model was Gaston Pia, a Tahitian school janitor from the village of Paea, 21 kilometres from Papeete. [4]
) is an 1897–98 painting by French artist Paul Gauguin. The painting was created in Tahiti and is in the Museum of Fine Arts in Boston , Massachusetts. Viewed as a masterpiece by Gauguin, the painting is considered "a philosophical work comparable to the themes of the Gospels ".
Portrait of Madeleine Bernard is an August 1888 oil on canvas painting by Paul Gauguin, now in the Museum of Grenoble, which bought it for 20,000 francs in 1923. [1] [2] [3] It shows Madeleine Bernard, sister of the French painter Émile Bernard (1868-1941) (they both visited Gauguin around that time) and is painted on the other side of the June 1888 The White River by the same artist.
Jug in the Form of a Head, Self-portrait, Gauguin, 1889. Kunstindustrimuseet, Copenhagen. Jug in the form of a Head, Self-portrait (usually referred to as the Jug Self-portrait) was produced in glazed stoneware early in 1889 [1] by the French Post-Impressionist artist Paul Gauguin. This self-portrayal is especially stark and brutal, and was ...
He then set out to interview the crash's survivors himself, and encouraged his actors to speak to them as well. "We had over 100 hours of recordings. And then we kept in contact with the survivors ...
In 1888 and 1889 Gauguin's enthusiasm for Japanese ukiyo-e woodcuts emerged. Japanese prints appeared in the background of his Apple and Vase painting, his portrait of The Schuffenecker Family and also Still Life with Head-Shaped Vase and Japanese Woodcut, which depicts an ukiyo-e portrait of an actor.