Art 109: Renaissance to Modern Westchester Community College Prof. M. Hall © Spring 2011 Post Impressionism: Van Gogh and Gauguin 1218 Post Impressionism mtsv11 Cézanne and Seurat both broke away from Impressionism Their work became more abstract 1220 Post Impressionism And less like a photograph 1220 “[The artist] must necessarily separate himself from everything mechanical like a photograph. That is why I will get as far away as possible that which gives the illusion of a thing, and since shadows are the trompe l’oeil of the sun, I am inclined to do away with them.” Paul Gauguin Van Gogh Vincent Van Gogh also broke away from Impressionism He placed greater emphasis on expression Vincent Van Gogh, Self Portrait as an Artist, 1888 Van Gogh Museum, Amsterdam Monet: Paint What you See “When you go out to paint, try to forget what objects you have before you -- a tree, a house, a field, or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you” Claude Monet 1302.jpg Claude Monet, Impression, Sunrise, 1872 Musée Marmottan Van Gogh: Paint What you Feel SP_detail “Because instead of trying to reproduce exactly what I see before my eyes, I use color more arbitrarily, in order to express myself forcibly” Vincent Van Gogh Vincent Van Gogh, Self Portrait as an Artist (detail), 1888 Van Gogh Museum, Amsterdam Claude Monet by Nickolas Muray, 1926 http://www.guardian.co.uk/arts/gallery/2008/feb/01/photography1?picture=332346857 I paint only what I see! SP_detail Vincent Van Gogh, Self Portrait as an Artist (detail), 1888 Van Gogh Museum, Amsterdam I paint what I feel! Van Gogh: Paint What you Feel Van Gogh used three main methods of expression: Color Brushstroke Exaggeration/distortion Vincent Van Gogh, Sunflowers, 1888 National Gallery, London Van Gogh: Paint What you Feel This painting uses the color yellow to express feelings of joy and exuberance Vincent Van Gogh, Sunflowers, 1888 National Gallery, London The City and the Country VanGogh-YellowHouse In 1888 Van Gogh moved to Arles in the south of France He wanted to create a “studio of the South” where artists could escape the city and modernity Vincent Van Gogh, The Yellow House, 1888 Van Gogh Museum Photo of Van Gogh’s house on the Place Lamartine in Arles Van Gogh Museum The City and the Country 1217 It was here that Van Gogh painted his most disturbing image of modern city life Vincent Van Gogh, The Night Café, 1888 University Art Gallery, Yale “This famous painting was executed in September 1888, when van Gogh, having abandoned Paris, was living in Arles in the south of France. The artist slept during the day and worked three consecutive nights while completing the picture of Café de l'Alcazar, an all-night haunt that he knew quite well.” University Art Gallery, Yale 1217 “The picture is one of the ugliest I have done.” Vincent Van Gogh 1217 “The glare of gaslight permeates the space. Local down-and-outs and prostitutes are depicted slouched at tables and drinking together at the far end of the room, absorbed in their individual loneliness and despair, which is bitterly contrasted with the shocking colors of the billiard table, wine bottles, and glasses.” University Art Gallery, Yale 1217 “Upon first glance, the viewer almost tends to glance away, as if burned. Fully two-thirds of the painting is the floor of the café, executed in sulphuric yellow with exaggerated lines of perspective that yank the eye into the painting” Elizabeth Harding, “Analysis of the Night Café” 1217 “Next, a green billiard table, outlined in heavy black, stops us cold. Beside the table stands a figure in a light-colored coat, staring out at us without expression. . . . A stark black and white clock depends in the background, impossible to miss. It is almost a quarter past midnight in this desolate scene. "Night Café" is one of Vincent's most powerful communications through art of the human condition and human emotions.” Elizabeth Harding, “Analysis of the Night Café” 1217 "In my picture of the 'Night Cafe' I have tried to express the idea that the cafe is a place where one can ruin oneself, go mad or commit a crime. So I have tried to express, as it were, the powers of darkness in a low public house, by soft Louis XV green and malachite, contrasting with yellow-green and harsh blue-greens, and all this in an atmosphere like a devil's furnace, of pale sulphur." Vincent Van Gogh 1217 "In my picture of the 'Night Cafe' I have tried to express the idea that the cafe is a place where one can ruin oneself, go mad or commit a crime. So I have tried to express, as it were, the powers of darkness in a low public house, by soft Louis XV green and malachite, contrasting with yellow-green and harsh blue-greens, and all this in an atmosphere like a devil's furnace, of pale sulphur." Vincent Van Gogh In this picture of a wheatfield, the countryside remains untouched by the encroaching threat of industrialism, commercialism, and city life. In this picture of a wheatfield, the countryside remains untouched by the encroaching threat of industrialism, commercialism, and city life. Van Gogh’s swirling brushstrokes express his intense response to the landscape The paint is laid on with thick strokes (impasto) They create a sense of turbulence, mixed with jubilation Picture 25 1218 The scene depicts a small village nestled against rolling hills that ebb and flow like waves. The church spire recalls the artist’s native home, while the small houses reflect the influence of Cézanne in the way Van Gogh builds them up through planes. 1218 The night sky is filled with swirling clouds and glowing stars that resemble comets rocketing through the night. The bright crescent moon in the upper right corner is balanced by the dark and ominous cypress tree on the left. It’s flame-like movement echoes the turbulent sky, and creates a vertical thrust that is perhaps symbolic of the artist’s yearning. 1218 Picture 29 detail_starry_night Paul Gauguin gauguin Paul Gauguin was a successful stockbroker He abandoned his career to become an artist Paul Gauguin, Self Portrait with a Hat, 1893-1894 Museé d'Orsay Paul Gauguin 1220 Gauguin rebelled against the modern world Picture 31 Georges Seurat, Sunday Afternoon on the Island of the Grand Jatte, 1886 Art Institute of Chicago Paul Gauguin Yellow_Christ He left Paris and settled in the village of Pont Aven in Brittany Paul Gauguin, The Yellow Christ, 1889 Albright Knox Museum Picture 32 Paul Gauguin Amish_country Brittany was like Amish country It was a provincial village that seemed frozen in time Paul Gauguin Yellow_Christ Gauguin was attracted to the simple peasants who lived there, and their “primitive” religious customs Paul Gauguin, The Yellow Christ, 1889 Albright Knox Museum Paul Gauguin Yellow_Christ He was also attracted to the “folk” art that could be found in the region, because it seemed more “authentic” than European art since the Renaissance Romanesque_crucifix Paul Gauguin, The Yellow Christ, 1889 Albright Knox Museum Paul Gauguin Yellow_Christ Life_annunciation Picture 33 Paul Gauguin, The Yellow Christ, 1889 Albright Knox Museum Paul Gauguin Yellow_Christ Picture 34 Paul Gauguin, The Yellow Christ, 1889 Albright Knox Museum Paul Gauguin gauguin_wrestling Gauguin’s Vision after the Sermon portrays Breton women experiencing a religious vision Paul Gauguin, Vision After the Sermon, 1888 National Gallery, Scotland gauguin_wrestling “The Breton women, dressed in distinctive regional costume, have just listened to a sermon based on a passage from the Bible . . . In a letter the artist wrote to Van Gogh he said 'For me the landscape and the fight only exist in the imagination of the people praying after the sermon.’” National Gallery, Scotland gauguin_wrestling As Professors Beth Harris and Steven Zucker observe, this is a “spectator religious painting” – Gauguin seems to be nostalgic for a pre-modern time when people could so fervently believe in religion Paul Gauguin gauguin_wrestling The flattened perspective and diagonal composition draws on the influence of Japanese prints Paul Gauguin, Vision After the Sermon, 1888 National Gallery, Scotland 100_views_edo_030 gauguin_wrestling As Professors Beth Harris and Steven Zucker observe, this is a “spectator religious painting” – Gauguin seems to be nostalgic for a pre-modern time when people could so fervently believe in religion Paul Gauguin gauguin_wrestling The flattened perspective and diagonal composition draws on the influence of Japanese prints Paul Gauguin, Vision After the Sermon, 1888 National Gallery, Scotland 100_views_edo_030 Paul Gauguin gauguin_wrestling The flat colors surrounded by a thick outline also recalls the medieval stained glass that Gauguin admired Paul Gauguin, Vision After the Sermon, 1888 National Gallery, Scotland Life_annunciation Paul Gauguin gauguin_wrestling Gauguin has completely rejected Renaissance conventions of perspective and modeling to produce a picture that is highly abstract Paul Gauguin, Vision After the Sermon, 1888 National Gallery, Scotland tribute_diagram Escape from Modernity French-Polynesia_Map So he set off for the South Seas in search of a virgin paradise Escape from Modernity Old Tahiti - Hunters in the Forest He believed he could escape the materialism of the modern world by returning to a pre-modern state of innocence “May the day come, perhaps very soon, when I’ll bury myself in the woods of an ocean island to live on ecstasy, calmness and art. With a new family, and far from the European struggle for money.” Paul Gauguin Escape from Modernity tahiti_postcard Gauguin’s ideas were shaped by popular images of Tahiti as a tropical paradise Escape from Modernity Old Tahiti postcard - Market St Papeete But Tahiti had not escaped modernity When Gauguin arrived in Papeete he found a post office, a hotel, and policemen -- all signs of modern Europeanized culture Escape from Modernity Old postcard TAHITI Bora Bora Teriimaevarua The inhabitants had been Christianized The women dressed in European clothes Escape from Modernity So Gauguin invented a primitive paradise in his art “In spring 1891 Gauguin traveled to the South Pacific island of Tahiti, then a French colony. He hoped to find an enchanting paradise, far from the modern metropolis of Paris. However, by the time of Gauguin's arrival Tahiti had been profoundly altered by French colonization: poverty and sickness were rampant. Still, in his paintings of the island Gauguin included elements of the imaginary, configuring Tahiti as a pre-modern land of leisure. His use of bright, flat, and unrealistic colors and his interest in recovering a "pure" subject, closer to nature, were greatly influential to the next generation of European artists, including the Fauves and German Expressionists.” Museum of Modern Art Paul Gauguin, The Seed of the Areoi, 1892 Museum of Modern Art Escape from Modernity This picture is based on the myth of Hina, the moon goddess, who beseeches Fatou, the male spirit of the earth to grant mankind eternal life Paul Gauguin, The Moon and the Earth, 1893 Museum of Modern Art Escape from Modernity Gauguin’s picture is a kind of return to the classical nude Paul Gauguin, The Moon and the Earth, 1893 Museum of Modern Art ingres Escape from Modernity But it is painted with the crudity and “innocence” of the primitive artist who has been untouched by academic rules Paul Gauguin, The Moon and the Earth, 1893 Museum of Modern Art Laussel cave, 'Venus' & ram's horn.jpg Where Escape from Modernity One of the last works Gauguin completed before he died was a monumental picture painted on rough burlap Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going? 1897 Museum of Fine Arts, Boston “The artist called it his "testament," for he planned to take his own life when the painting was finished. He worked feverishly, painting "on sackcloth full of knots and wrinkles," but found the finished work more than acceptable, writing, "I believe that this canvas not only surpasses all my preceding ones, but that I shall never do any-thing better, or even like it.”” Museum of Fine Arts, Boston Where “If anyone said to the students . . . At the Ecole des Beaux Arts, the picture you must paint is to represent Whence Do We Come? What Are We? Where Are We Going? What would they do? I have finished a philosophical work on this theme, comparable to the Gospels.” Paul Gauguin Where “So, before dying, I wanted to paint a big canvas that I had in mind . . . . It is all done in a bold style, directly with the brush, on sackcloth full of knots and wrinkles, so it looks terribly rough” Paul Gauguin Where “It does not smell of the model, of professional techniques and of so-called rules -- from which I always did free myself, although sometimes with trepidation.” Paul Gauguin Where “To the right, below, a sleeping baby and three seated women. Two figures dressed in purple confide their thoughts to each other. An enormous crouching figure which intentionally violates the perspective, raises its arm in the air and looks in astonishment at these two people who dare to think of their destiny.” Paul Gauguin Where “A figure in the center is picking fruit. Two cats near a child. A white goat. An idol, both arms mysteriously and rhythmically raised, seems to indicate the Beyond. A crouching girl seems to listen to the idol. Lastly, an old woman approaching death seems reconciled and resigned to her thoughts. She completes the story.” Paul Gauguin Monet Van Gogh Gauguin Modern urban life Plein air approach Paints what he sees Loose brushstrokes to capture effects of light Nature determines color Faithful to observed reality Monet Van Gogh Gauguin Modern urban life Escape modernity: wants to paint pre-industrial rural scenes Plein air approach Plein air approach Paints what he sees Paints what he feels Loose brushstrokes to capture effects of light Thick impasto, expressive brushstrokes to express emotions Nature determines color Feeling determines color Faithful to observed reality Distorts/exaggerates observed reality Monet Van Gogh Gauguin Modern urban life Escape modernity: wants to paint pre-industrial rural scenes Escape modernity; “goes native” Plein air approach Plein air approach Works from memory and imagination Paints what he sees Paints what he feels Paints what he feels Loose brushstrokes to capture effects of light Thick impasto, expressive brushstrokes to express emotions Flat forms surrounded by thick outline Nature determines color Feeling determines color Uses color “arbitrarily” Faithful to observed reality Distorts/exaggerates observed reality Ignores reality! Influenced by Japanese prints, stained glass, and pre-modern art

. symbol is the WHOLE Lynda says of the second in a series and recently some Post Impressionists and this time focusing on Van Gogh and Gauguin . the last precinct agency sun and Iraq both broke away from Impressionism Their work going more abstract and less photograph . Paul Gauguin also wanted to move away from the Ikea of painting as a kind of photograph four Between delusional world . once wrote the artist must necessarily separate itself from everything mechanical like a photograph that is while I will get as far away as possible that which gives the illusion of a thing and since shadows are the trompe lowly of the sun I am inclined to do away with them . plate the French word meaning for the eye . this is an Gogh also broke away from Impressionism He laced greater emphasis on what we call expression . now we can get a sense of how different Van Gogh's approach was from Impressionism to find reading not the words remember Monet was the one who said when you go out to paint try to forget what objects you have before you . nearly think here is a little square new year and plunk . just as it looks to you . most approach the sticky but the sea . Van Gogh . he writes Because instead of trying to reproduce exactly what I see before my ninth . I use color more arbitrarily in order to express myself forcibly . they are describing very different approaches Monet . only to paint . . then go on the other hand he's going to Paint What you Feel . the twenty first Eyck using color arbitrarily . ah that's the word students use the word random in a sea blue . but instead of painting blue he used the color red because it expresses his feelings more truthfully . the use three main methods of expression Color and he really believed in the symbolism of the emotional . expressive color . very expressive brushstrokes and Exaggeration and distortion . Painting for example uses the color yellow to express feelings of joy and exuberance on not and the associated yellow with a hint of a happy color for him . think of it Monet painted haystacks to register different effects of light and color His focus was on visual data . I also worked in series he did a whole series Sunflowers . in trying to register different effects of light and color as the atmosphere changed . Gary Sunflowers to register Eyck did bring emotional fact some are very happy some are very dark especially the ones selling the Sunflowers after the Art Degas very dark been include the and turbulent . he will move to our south of France He wanted to create a studio of the South where artists could escape the city and tyranny . this is actually a common theme in the post impressionist period when the deceased . the artist turning their back on those factories and train stations and Marie is that words the focus of Impressionist painting . the sun living like a hermit can tell France . then go read the city goes to the small part of our own of course our own has not completely escaped the industrial revolution neared the train that brought him here . and this is the you will YellowHouse where Van Gogh . Bruce but it was here that Van Gogh painted . it was his most disturbing images of modern city life . from the University Art Gallery a yelp which owns the picture . this famous painting was executed Greek any when van Gogh having abandoned Paris was living in one of France . the artist slept during the day and worked three consecutive nights while completing the picture of Cafe got this are an all night . he knew quite well . then Boat described it as being one of the ugliest picture . for painting . again from the University Art Gallery . glare of gaslight permeates the space . local down an ounce . here . . and prostitutes are depicted in slapstick and drinking together at the far into the room absorbed in their individual loneliness and despair which is bitterly contrasts with the shocking colors of the billiard table wine bottles and glasses . upon first glance the viewer almost tends to glance away as if burned . fully two-thirds of the painting for the cafe executed in full fury yellow that exaggerated lines of perspective . they contend the eye into the painting is from Elizabeth Harding Analysis of the Night Cafe . green billiard table outlined in Papeete black stops us cold . chance of figuring of light colored coat staring out at us without expression . a stark black and white clock . not depends in the background impossible convinced it's almost a quarter past midnight in this desolate scene a cafe is one of tint to the local communications through art of the human condition and human emotions . Self said in a letter to express the field . he said it might not be certain I can say I've tried to express the idea . a place where one can ruin oneself go matter and crime . what tried to express as it were the powers of darkness in a low public house by well look so good fifteen Screen Malik I contrasting with the little green and harsh blue greens and all this in an atmosphere like the devil furnace of pale sulphur . I one in the back of it . . on the Google often wrote in letters to his brother about it picture . the author tells his brother what he wants to express I want to express . the colors used . at the colors for the picture are not based on what he saw keep using color arbitrarily he's using Galette delete key ranked with contrasts with its clean green to create this jarring effect on He also creating the jarring effect on through the the the Exaggeration and distortion He hatchery the perspective of the billiard table looms in the fourth foreground . this bombing in shadow on the ground . he's also creating an expressive effect through the brushstrokes . they are they a bit brushstrokes . on this doesn't come through in the in the widening and had no fourteen three . lead on the pic . the anecdotal evidence of this being a very desolate scene I'll tell completely . earlier in the evening on the more fun if we can see that there were more people earlier in the evening . late night . when pretty much only the loose black people . there is loneliness . on and bring to to be seen . then go in that you read everything colored the brushstrokes to communicate . public house . it's not a place of pleasure enjoyment the way Renoir suggested but instead is a place of moaning . . the the King of the country express a very different emotion in Waikiki into the south of France The getaway from the city and to get our continued care where he feels almost of religious kind of reference he talks about on help you fall the landscape was around our own pieces because I've never had to teach and Nature Kia being so extraordinarily beautiful everywhere all over the fault of having a marvelous blue and son Chad to reading the pale sulphur . think here titled Wheatfield and I proceed to happen Metropolitan Museum . picture of a wheatfield the heat blowing and we and the Country site remains untouched by the encroaching threat of industrialism commercialism and city life . so think landscapes are very different from Notes suburban landscapes that we saw the compression . swirling brushstrokes express his intense response to that landscape . I laid on relief that the common impasto . it's almost like he's keeping with . it's just so and then the brushstroke creates all the movement and energy picture . brushstroke creates the sense of both the land because we can . the windy landscape . and so there's a turbulent but that also a kind of jubilation . and here is the key Wheatfield than you can see that that's Impressionist . he stops of pure color on the run but he also trying to get it . meet your pieces there many hints of yellow and Oil neutral Combed consulting for making pilot with yellow but he says . I have Plein tells someone with the truthfulness of the colors . and though it's not like Monet is not going to keep the complete with c going to exaggerate and intensify the colors in order to express his emotions . a nice breakdown came after Gauguin came stay with him in RL . hostile economy that he painted Starry Night on . Museum of modern art quilts insane . this morning I saw the country from my window a long time before Sunrise . the artist were to his brother with nothing but the morning star which looked very da . I actually different in approach . then get Danto remained Plein air painter . he became to features on the spot beginning to end but this one was based partly on on observation and partly on imagination . falling out with Gauguin whistle Gauguin was trying to encourage him to work in Painterly from the imagination . I depicts a small village nestled against rolling heel in the background that could be given flow like we the church spire year recalls the artist's me home while the small houses but the delay their painting see that the almost Patches reflex the influence of the sun in the way to build up the house a three piece planes . the night sky is filled with swirling clouds and glowing stars that resemble comets rocketing through the night . the break crescent moon in the upper right corner is balanced by the dark and ominous cypress tree on the left . it's flame like movement echoes the turbulent sky and creates a vertical drop . perhaps symbolic of the artist hearing . . scholars interpret this picture a kind of contemplation on death . we know that on that Van Gogh associate that not just Van Gogh in France Cypress trees were associated with Cemetery . so first and though the sky St was a symbol of death . we see him looking into this guy in the way he paints the sky we sense is asking the question we all and we look into it . why are we here who made what happens after we die . on Degas once wrote just this week it rained to get to Santa will and when I get to preach star . local down was a successful stockbroker . the his country or to become an artist . I yelled against the modern world he once wrote terrible pic is brewing in Europe for the coming generation . in my goal . everything is cute to find even and even the arts . I like to be . . Iraq Picture Sunday Afternoon on the Island of the ground shot as being sorted straight jacket the middle class world Paul Gauguin was just counting the the together we from . he wants to break off the clothes and get away from that man can nine on artificial city life . in the chair . the first place to go . the small world Felix Jean greatly . he went because it was the opposite of modern city . he talked about He that he loved Brittany piece is here I find the wild in the printing . one nine wooden shoes bring on the Stony soil . I hear the muffled Gogh might be when I'm looking for in my painting . so great with the world elites have aided by the peasants who still War . and speaking from the new league is different for Gauguin was like he was getting back to a pre modern . way of living . a lot like Amish country It was a seem to be frozen in time . also attracted on Sudan only the simple peasants who lived here but I was pregnant his religious customs . he was attracted to the folk art that can be found in the preaching because it seemed more authentic than European art since the Renaissance . this in an example of Romanesque Crucifix much like the roadside Calgary be seen in painting where we he hasn't women gathered around . are your Crucifix brain . the most attracted to Medieval art and elsewhere can see on non Western art because it seemed to be the opposite of the overly to find European tradition since the Renaissance he once wrote that the wearer of modeling to remember modeling with light and shade was a technique that John o started using what made things look round . on one insane Complex throw that out let's go back in the league . let's go back to the Byzantine icons or He PT we'd like a glass window Lynda he is the way of modeling . the simple theme glass window . in the eye by institutions colors and forms that stupid that kind of news . and finally Gauguin told the students some Invites do not eat too much after nature . now we started class with Donald . who the and a Seeing sword and direct observation of nature Gauguin rejecting it entirely . he says art is an abstraction to write the extraction While dreamy before it and think more about the creation week with salt and nature . the Vision After the Sermon retreat three winning . we referred to keep on the people who live in Brittany are free . so three women experiencing a religious vision . National Gallery of Scotland . the three women are dressed in distinctive regional costume that ArtThe in the know they're wearing the skirt of flying nun kind . here . just listened to a sermon based on a passage from the bible years to create even . in a letter the artist wrote to Van Gogh he said for me the landscape and the thought and the fight to take a between two lovers here . only interest in the imagination the people praying . . anyway the trip to the kind of like a manifesto of Gauguin di di and that that the painting she eight he is pictured on the imagination rather than on what he said certain . although women here have their highest close to the weather really He . there are nagging fishing rather than reality . hence the picture blacks decreed for you . in the Smarthistory conversation that Paris and he can Supper talk about this picture as being kind of spectator religious painting and I think that's a great way of capturing . himself was not released . we can not . it's more like he was given he was feeling Knox County for a pre modern time when people could actually leave . . flattened perspective . that to this . on the After the Sermon also Eyck's amplified Gauguin The dial looking How at the track flat the picture is the calm we have thrown everything that the non entry Renaissance to me how the window . it's no perspective . instead it's very flat rate that the ground testing Tilted of any chance that is very un natural route . on . well we look at the pink here and there is a slight degree of modeling but for the most part piece are flat sheet down by a thick outline much like the glass window . on the when you think of Gauguin style think of the run . Gary is flanked Beyond model for my the Untitled that's the no Greek nation to darken my bounded by a the outlined much like a class . the perspective and diagonal composition draws on the influence of Japanese prints with the Impressionists were also being influenced by Japanese prints . the flat colors and the gal blind to recall the medieval stained glass that Gauguin admired . Denis completely rejected Renaissance conventions of perspective and modeling to pretend that picture that is highly abstract . the common thread of Post Impressionism with the invention of the artist Art thirty three per week . reinventing what . the ensued . by with Pont son . it really had not escaped maturity in fact that was it was really a towards town much like what the modern gay Williams for . set off for the South Seas in search of the Virgin Paragon . so he really is taking the guarantee first to leave the city for the country . but then he says I want how I want to keep your the modern European world altogether . and he believed he could escape the materialism of the modern world by Returning to a kind of pre modern state of innocence hero . maybe de come perhaps very soon when I'll bury myself with an ocean island to live on ecstasy calmness and art . with a new family and far from the European struggle for money . like he is perceived by popular in the case of Tahiti as a tropical paradise and many of these popular image is from postcards and things like that . also painted the picture to the tea as a kind of sexual paradise a place of of beautiful women and free love . he can guarantee When Gauguin arrived in Papeete he found a post office a Hotel and policemen as well as a brake light district all signs of modern European keen eye sculpture . he didn't find making me practicing trouble thinking The inhabitants had been Christianized The women dressed in European clothes . and how to invent a primitive paradise in his art . thinking from the Museum of Modern Art from the completion period and a summary from the Museum of modern art . in spring eighteen ninety one Gauguin traveled to South Pacific island . he then a French colony . he hoped to find an enchanting paradise far from the modern topped with parents However by the time Gauguin The rival PE had been profoundly altered by French colonization poverty and sickness were rampant . Still in his paintings of the island Gauguin included elements of the imaginary configuring Tahiti as a pre modern land of the year . his use of bright flat and unrealistic colors and his interest in recovering popular subject closer to nature were greatly influential to the next generation of European artists including the folks and German Expressionists . we will be doing next week . this painting also from the Museum of Modern Art distaste on the myth of Plein the Moo the artist . to the male spirit of the earth to grant mankind eternal life in a way Gauguin skincare is a kind of return to the classical nude . he wanted team email almost bring it back on and they painted with the crudity Inn in San of the primitive artist has been untouched by academic rules . one last works Gauguin completed before he died was a monumental picture painted on rough world burlap . it's in the Museum of Fine Arts Boston and beer website . the artist called it his skin and three planned to take his own life when the painting was finished he was the first week keeping on . he put it . Claude full of knots and wrinkles . but found the finished work more than acceptable rating . I believe that this canvas not only surpasses all my preceding ones but that I never do any thing better or even like it . gold went to become what Are We the year or are we killing Gauguin described the subject theme comparable to the Gospels . it is in many ways a religious painting . he said that before dying he wanted to be Campin any emphasizes the roughness how with paint on cloth and it looks terribly rough because he rejected the This were intrigued find conventions of European society he says it does not smell of the model of professional . so-called rules from which I always did free money . he exclaimed subject matter . he talks about how to the right below a Sleeping baby and three seated women . cycled like here . her break the child is born here . you think is dressed in purple . confide their thoughts to each other . an enormous crouching figure which intentionally violates the perspective the hell it's too large . actually he in the middle ground . read the Garmin the air and looks in astonishment at these two people who care to think of their destiny . during the center speaking Korean . so we have heard . we have light in the center . her child . idol both arms mysteriously him with mingling least seem to indicate the Beyond . and that idol by the way seemed twenty got to be there was no religious pretext left for him to serve you well on on Japanese art and silky created this on from just looking at books . on a crouching girl seems to Listen . to the idol . Lastly an old woman approaching death seems reconciled and resigned to her thoughts she completes the story . so we and her life . thoughts about that the on and finally get to the crunching woman is based on and on the Peruvian money that Gauguin had seen in the ethnographic the sea and the curse frequently were . the sinking returned to the kind of spiritual questions that religious art once engaged with . what and when we die . that both men Gogh and Gauguin leader in their lives produced . that art kind of like religious Picture they'd ask questions spiritual questions is there an afterlife . what is the meaning of life . but they do so thinking that that can not use any form of institutionalized religion or Ike or iconography . let's sum up Van Gogh and Gauguin and look how their approach similar to what different from Monet answer represented . Impressionist first of all Monet such a moment Modern urban life Plein air approach to tell me what he sees Loose brushstrokes to capture effects of light Nature determines color and he's Faithful to observed reality . and that Van Gogh . instead of painting Modern Urban Life he's escaping the period he wants to paint pre industrial rural scenes he still dedicated to a plain air approach on Gauguin Street Canal twenty Gauguin truck tried to talk me into working from the imagination . this painting one pc . when you Feel . and then the Impressionist loose brushstroke that is trying to capture effects of light in a effects of light in the Hugo . impasto is Gallery takes place this brushstroke because trying to express emotions including brushstroke are very different purpose . the colors to Monet me carries gonna tell him what color it came to picture me curious in charge but Danto says I use color arbitrarily he's going to change his colors to express his feelings so he's not going to be asleep to nature like . and finally Monet tympanum remain faithful to her reality . but the end though it's going to have to distort or exaggerate in order to express emotions . Gauguin also want to escape the guarantee and he goes even further by so-called by going needed . on rather than being a plein air painter though he Works from memory and imagination . similar to Van Gogh Gauguin . in some ways wants to keep what he feels rather than what he . and then his distinctive style rather than those that think impasto expressive brushstrokes his style is characterized by platform surrounded by thick outline . on Gauguin also was going to use color arbitrarily instead of being faithful to color and in terms of being Faithful to observed reality Gauguin completely ignores reality completely on and finally he's also influenced by Japanese prints stained glass and any kind of pre modern pre modern art and nice looking Eyck Javanese sculpture is looking at Egyptian art anything that's not European . he was interested in . and at the end of my precinct . . .