45. GAUGUIN, Paul
The Siesta (detail)
1892-1894
Oil on canvas, 88.9 × 116.2
cm
Metropolitan Museum of Art
46. GAUGUIN, Paul
The Siesta (detail)
1892-1894
Oil on canvas, 88.9 × 116.2
cm
Metropolitan Museum of Art
47. GAUGUIN, Paul
The Siesta (detail)
1892-1894
Oil on canvas, 88.9 × 116.2
cm
Metropolitan Museum of Art
48. GAUGUIN, Paul
The Siesta (detail)
1892-1894
Oil on canvas, 88.9 × 116.2
cm
Metropolitan Museum of Art
49. GAUGUIN, Paul
The Siesta (detail)
1892-1894
Oil on canvas, 88.9 × 116.2
cm
Metropolitan Museum of Art
50. cast GAUGUIN, Paul Featured Paintings in Detail (2)
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51. GAUGUIN, Eugène Henri Paul
Gaugin Paul was a French Post-Impressionist painter, sculptor, printmaker, ceramist,
and write, and was an important figure in the Symbolist movement, and his
experimentation was indicative of the Synthetist style of modern art.
He also paved the way to the appreciation of primitivism, as his paintings employed
many of the simplistic techniques employed by Naïve artists.
As an individual he was prone to bouts of depression and once attempted suicide.
As a painter, he was disappointed with Impressionism, as he felt that the tradition of
European painting had simply become imitative, and lacked the symbolic depth that
he desired. He also thoroughly enjoyed the art of Africa and Asia, which was full of
symbolic depth, vigor, and meaning. In his escape from the traditional European
paintings, he sought to find a tropical paradise, in which he could paint in an
increasingly primitive style and live off the land.
52. Lacking recognition for his work and with no money, he sailed to the
tropical islands of Tahiti and Marquesas, in French Polynesia. His
exploits there generated much interest, especially his reputed sexual
exploits with young native girls, some of which appear as the
subjects in his paintings.
In Polynesia, he often sided with the natives in their conflicts with
the church and colonial authorities, eventually writing a book about
his experiences there. Gaugin’s physical escape allowed his stylistic
escape of post-Renaissance painting, as he paid little attention to
classical perspective and eliminated gradations of color and
shading. Inspired by the primitivism of the countries in which he
lived, he also used primitive elements in his paintings to great
success.