Paul Gauguin - Revision history

Janet Kerschner: /* Resources */

2025-05-22T19:20:07Z

Resources

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	The writings of [[Gerald Massey]] became important to the artist; he wrote out many pages of Massey's theories on the myth of Christianity into his notebooks.		The writings of [[Gerald Massey]] became important to the artist; he wrote out many pages of Massey's theories on the myth of Christianity into his notebooks.

	== ~~Resources~~ ==		== Additional resources ==

	The [[Union Index of Theosophical Periodicals]] lists 7 articles [~~http~~://~~www.austheos~~.org.au/~~cgi-bin~~/~~ui-csvsearch.pl~~?~~search~~=Gauguin ~~by or~~ about Paul Gauguin].		The [[Union Index of Theosophical Periodicals]] lists '''[https://theosophicalsociety.org.au/union_index/entries?q=Paul+Gauguin&s=author 5 articles illustrated by Paul Gauguin]''' and '''[https://theosophicalsociety.org.au/union_index/entries?q=Paul+Gauguin&s=title 2 articles about Paul Gauguin]'''.

	== Notes ==		== Notes ==

SysopJ at 15:23, 25 September 2018

2018-09-25T15:23:41Z

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	~~'''UNDER CONSTRUCTION'''<br>~~
	~~'''UNDER CONSTRUCTION'''<br>~~
	[[File:Paul Gauguin.jpg\|right\|230px\|thumb\|Paul Gauguin]]		[[File:Paul Gauguin.jpg\|right\|230px\|thumb\|Paul Gauguin]]
	'''Paul Gauguin''' was a French post-impressionist and primitivist painter best known for his paintings of French Polynesia. He was heavily interested by [[Theosophy]], [[Rosicrucianism]], [[Spiritualism\|spiritualism]], and other spiritual movements of the time.		'''Paul Gauguin''' was a French post-impressionist and primitivist painter best known for his paintings of French Polynesia. He was heavily interested by [[Theosophy]], [[Rosicrucianism]], [[Spiritualism\|spiritualism]], and other spiritual movements of the time.
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	[[File:Gauguin - Arearea.jpg\|right\|300px\|thumb\|''Arearea'']]		[[File:Gauguin - Arearea.jpg\|right\|300px\|thumb\|''Arearea'']]
	=== Tahiti ===		=== Tahiti ===
	<br>		'''THIS SECTION UNDER CONSTRUCTION'''<br>
	<br>		'''THIS SECTION UNDER CONSTRUCTION'''<br>
	<br>		<br>
	<br>		<br>

Janet Kerschner: /* "Where Do We Come From? */

2017-11-06T15:12:01Z

"Where Do We Come From?

← Older revision		Revision as of 15:12, 6 November 2017
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	<blockquote>		<blockquote>
	In Tahiti, he created paintings that express a highly personal mythology. He considered this work—created in 1897, at a time of great personal crisis—to be his masterpiece and the summation of his ideas. Gauguin’s letters suggest that the fresco-like painting should be read from right to left, beginning with the sleeping infant. He describes the various figures as pondering the questions of human existence given in the title; the blue idol represents “the Beyond.” The old woman at the far left, “close to death,” accepts her fate with resignation.<ref>Museum of Fine Arts Boston website, "Where Do We Come From? What Are We? Where Are We Going?" </ref>		In Tahiti, he created paintings that express a highly personal mythology. He considered this work—created in 1897, at a time of great personal crisis—to be his masterpiece and the summation of his ideas. Gauguin’s letters suggest that the fresco-like painting should be read from right to left, beginning with the sleeping infant. He describes the various figures as pondering the questions of human existence given in the title; the blue idol represents “the Beyond.” The old woman at the far left, “close to death,” accepts her fate with resignation.<ref>Museum of Fine Arts Boston website, "Where Do We Come From? What Are We? Where Are We Going?" [http://www.mfa.org/collections/object/where-do-we-come-from-what-are-we-where-are-we-going-32558 MFA website]. Accessed November 6, 2017. </ref>
	</blockquote>		</blockquote>

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	[[File:Gauguin - Marquesas swamp hen.jpg\|right\|270px\|thumb\|Marquesas - Swamp hen killed by dogs, 1902]]		[[File:Gauguin - Marquesas swamp hen.jpg\|right\|270px\|thumb\|Marquesas - Swamp hen killed by dogs, 1902]]

	=== The Marquesas ===		=== The Marquesas ===

Janet Kerschner: /* Artistic career */

2017-11-06T15:04:00Z

Artistic career

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			[[File:Gauguin - Where Do We Come From.jpg\|700px\|center\|thumb\|"Where Do We Come From?" 1897.]]
			=== "Where Do We Come From? ===

	~~[[File:~~Gauguin - Where Do We Come From~~.jpg\|400px\|center\|thumb\|"~~Where Do We ~~Come From~~?" 1897.]]		In 1897 Gauguin painted a large work addressing the questions, Where Do We Come From? What Are We? Where Are We Going?
	~~===~~ "Where Do We Come From? ~~===~~
			<blockquote>
			In Tahiti, he created paintings that express a highly personal mythology. He considered this work—created in 1897, at a time of great personal crisis—to be his masterpiece and the summation of his ideas. Gauguin’s letters suggest that the fresco-like painting should be read from right to left, beginning with the sleeping infant. He describes the various figures as pondering the questions of human existence given in the title; the blue idol represents “the Beyond.” The old woman at the far left, “close to death,” accepts her fate with resignation.<ref>Museum of Fine Arts Boston website, "Where Do We Come From? What Are We? Where Are We Going?" </ref>
			</blockquote>

			In 1898 he sent the work to Georges Daniel de Monfreid in Paris. After a long series of consignments and sales, it ended up at the Museum of Fine Art in Boston in 1936.

	[[File:Gauguin - Marquesas swamp hen.jpg\|right\|270px\|thumb\|Marquesas - Swamp hen killed by dogs, 1902]]		[[File:Gauguin - Marquesas swamp hen.jpg\|right\|270px\|thumb\|Marquesas - Swamp hen killed by dogs, 1902]]

Janet Kerschner: /* Artistic career */

2017-11-06T14:26:37Z

Artistic career

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	<blockquote>		<blockquote>
	It marks his final departure from Impressionism, a school of which he had never been fully part, and signals his creation of something entirely new. While the work had all the hallmarks of the recently defined Cloisonism, it already left it far behind. More than that, with its many layers of meaning, with its merging of biblical symbolism and personal mythology, the painting marks as great a break with the realist tradition as Seurat's ''Grande Jatte''.<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 200.</ref>		It marks his final departure from Impressionism, a school of which he had never been fully part, and signals his creation of something entirely new. While the work had all the hallmarks of the recently defined Cloisonism, it already left it far behind. More than that, with its many layers of meaning, with its merging of biblical symbolism and personal mythology, the painting marks as great a break with the realist tradition as Seurat's ''Grande Jatte''.<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 200.</ref>
			</blockquote>

	Gauguin and the artists at Pont-Aven evolved toward what came to be called '''Synthetism''', where form and color became more balanced. Their work came to be distinguished by subject matter like that of the Belgian Symbolists; lack of interest in realistic representation; and bold use of colors. Their intention was to combine images in new ways that were completely unlike Impressionism, and the synthesis was of the real and the imaginative.		Gauguin and the artists at Pont-Aven evolved toward what came to be called '''Synthetism''', where form and color became more balanced. Their work came to be distinguished by subject matter like that of the Belgian Symbolists; lack of interest in realistic representation; and bold use of colors. Their intention was to combine images in new ways that were completely unlike Impressionism, and the synthesis was of the real and the imaginative.
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			[[File:Gauguin - Where Do We Come From.jpg\|400px\|center\|thumb\|"Where Do We Come From?" 1897.]]
			=== "Where Do We Come From? ===


	[[File:Gauguin - Marquesas swamp hen.jpg\|right\|270px\|thumb\|Marquesas - Swamp hen killed by dogs, 1902]]		[[File:Gauguin - Marquesas swamp hen.jpg\|right\|270px\|thumb\|Marquesas - Swamp hen killed by dogs, 1902]]
	=== The Marquesas ===		=== The Marquesas ===
	~~<br>~~
	~~<br>~~		Gauguin moved to Atuona in the Marquesas in September, 1901. He bought a plot of land and built a sturdy two-story house in the town. With the aid of his fourteen-year-old native mistress, Vaeoho, and several servants, he established a household where he was able to be productive in his artistic life. The local residents were fascinated by the art in his house, and especially by the pornographic works that he had purchased in Egypt. The Roman Catholic missionaries in town were appalled, and Gauguin actively encouraged Marquesan children not to attend Catholic schools.
	~~<br>~~
	~~<br>~~		His paintings of this period were similar to those from Tahiti, but the subject matter tended more toward landscapes, and stills rather than the his previous themes of primitive life and lost paradise.
	~~<br>~~
	~~<br>~~

	== Involvement with Theosophical Society ==		== Involvement with Theosophical Society ==

Janet Kerschner at 04:01, 8 October 2017

2017-10-08T04:01:25Z

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	[[Category:Nationality French\|Gauguin, Paul]]		[[Category:Nationality French\|Gauguin, Paul]]
	[[Category:Famous people\|Gauguin, Paul]]		[[Category:Famous people\|Gauguin, Paul]]
			[[Category:People\|Gauguin, Paul]]

Janet Kerschner: /* Involvement with Theosophical Society */

2016-11-08T19:30:21Z

Involvement with Theosophical Society

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	== Involvement with Theosophical Society ==		== Involvement with Theosophical Society ==

	Gauguin's friend Paul Sérusier introduced many new ideas, such as [[~~Edouard~~ Schuré\|~~Edouard~~ Schuré's]] ''Les Grands Initiés''', a study of world religions in which Christianity, Hinduism and Buddhism were given equal place. It was all part of the latest fad sweeping through French intellectural circles, the obsession with Theosophy..."<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 230.</ref> Various forms of esotericism were being explored in their circle of friends - [[Rosicrucianism]], [[Freemasonry]], [[Spiritualism\|spiritualism]], and [[Kabbalah]]. Sérusier and the Nabis were drawn to the [[Rosicrucianism]] of Sâr Péladan and his Order of the Rose+Cross. Gauguin was more attracted to Theosophy:		Gauguin's friend Paul Sérusier introduced many new ideas, such as [[Édouard Schuré\|Édouard Schuré's]] '''''Les Grands Initiés''''', a study of world religions in which Christianity, Hinduism and Buddhism were given equal place. It was all part of the latest fad sweeping through French intellectural circles, the obsession with Theosophy..."<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 230.</ref> Various forms of esotericism were being explored in their circle of friends - [[Rosicrucianism]], [[Freemasonry]], [[Spiritualism\|spiritualism]], and [[Kabbalah]]. Sérusier and the Nabis were drawn to the [[Rosicrucianism]] of Sâr Péladan and his Order of the Rose+Cross. Gauguin was more attracted to Theosophy:
	<blockquote>		<blockquote>
	What appealed to Gauguin was the suggestion of a single wisdom, a universal truth that could be glimpsed in its various cultural manifestations amongst differing world cultures... It was no accident that he had turned to a religious subject for his first major painting... Over the coming twenty years, the effects of Sérusier's enthusiastic sermons would grow and develop until finally, Gauguin's art would become the fullest expression of that belief in the oneness of mankind through a universal faith which Helena Petrovna Blavatsky had launched.<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 432.</ref>		What appealed to Gauguin was the suggestion of a single wisdom, a universal truth that could be glimpsed in its various cultural manifestations amongst differing world cultures... It was no accident that he had turned to a religious subject for his first major painting... Over the coming twenty years, the effects of Sérusier's enthusiastic sermons would grow and develop until finally, Gauguin's art would become the fullest expression of that belief in the oneness of mankind through a universal faith which Helena Petrovna Blavatsky had launched.<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 432.</ref>

Janet Kerschner at 19:10, 1 November 2016

2016-11-01T19:10:06Z

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	[[Category:Writers\|Gauguin, Paul]]		[[Category:Writers\|Gauguin, Paul]]
	[[Category:Nationality French\|Gauguin, Paul]]		[[Category:Nationality French\|Gauguin, Paul]]
	[[Category:Famous people\|~~Klee~~, Paul]]		[[Category:Famous people\|Gauguin, Paul]]

Janet Kerschner: /* Pont-Aven colony, Cloisonism, and Synthetism */

2016-10-27T19:43:35Z

Pont-Aven colony, Cloisonism, and Synthetism

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	In 1886 Gauguin spent the summer at Pont-Aven in Brittany, which had long been established as an artists colony. Paul Gauguin lived there for several years in the 1880s and 1890s as the central figure of the colony, along with Paul Sérusier, Émile Bernard, Charles Laval, Édouard Vuillard, Pierre Bonnard, Maurice Denis, and many others. Gauguin ventured into the '' Cloisonism'' that was influenced by folk art and Japanese prints. Émile Bernard had pioneered this style of painting with strong outlines and flat areas of color, and Gauguin adopted it.		In 1886 Gauguin spent the summer at Pont-Aven in Brittany, which had long been established as an artists colony. Paul Gauguin lived there for several years in the 1880s and 1890s as the central figure of the colony, along with Paul Sérusier, Émile Bernard, Charles Laval, Édouard Vuillard, Pierre Bonnard, Maurice Denis, and many others. Gauguin ventured into the '' Cloisonism'' that was influenced by folk art and Japanese prints. Émile Bernard had pioneered this style of painting with strong outlines and flat areas of color, and Gauguin adopted it.

	His painting, '''''Vision du Sermon''''', or ''The Vision after the Sermon, Jacob Wrestling with the Angel'', represents a transition into Cloisonism and beyond. Breton women are depicted watching a man wrestling with an angel - "presumably a shared vision of the sermon they have just head preached in church"... The thrill of the painting lies in the tension between abstract and naturalist details, between the real and the mystical.<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 199-200.</ref>		His painting, '''''Vision du Sermon''''', or ''The Vision after the Sermon, Jacob Wrestling with the Angel'', represents a transition into Cloisonism and beyond. Breton women are depicted watching a man wrestling with an angel - "presumably a shared vision of the sermon they have just head preached in church... The thrill of the painting lies in the tension between abstract and naturalist details, between the real and the mystical."<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 199-200.</ref>
	<blockquote>		<blockquote>
	It marks his final departure from Impressionism, a school of which he had never been fully part, and signals his creation of something entirely new. While the work had all the hallmarks of the recently defined Cloisonism, it already left it far behind. More than that, with its many layers of meaning, with its merging of biblical symbolism and personal mythology, the painting marks as great a break with the realist tradition as Seurat's ''Grande Jatte''.<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 200.</ref>		It marks his final departure from Impressionism, a school of which he had never been fully part, and signals his creation of something entirely new. While the work had all the hallmarks of the recently defined Cloisonism, it already left it far behind. More than that, with its many layers of meaning, with its merging of biblical symbolism and personal mythology, the painting marks as great a break with the realist tradition as Seurat's ''Grande Jatte''.<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 200.</ref>

	Gauguin and the artists at Pont-Aven evolved toward what came to be called '''Synthetism''', where form and color became more balanced. Their work came to be distinguished by subject matter like that of the Belgian Symbolists; lack of interest in realistic representation; and bold use of colors. Their intention was to combine images in new ways that were completely unlike Impressionism, and the synthesis was of the real and the imaginative.		Gauguin and the artists at Pont-Aven evolved toward what came to be called '''Synthetism''', where form and color became more balanced. Their work came to be distinguished by subject matter like that of the Belgian Symbolists; lack of interest in realistic representation; and bold use of colors. Their intention was to combine images in new ways that were completely unlike Impressionism, and the synthesis was of the real and the imaginative.

	=== Influence on Les Nabis ===		=== Influence on Les Nabis ===

Janet Kerschner: /* Artistic career */

2016-10-27T15:41:27Z

Artistic career

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	== Artistic career ==		== Artistic career ==

	Gauguin's earliest paintings were Impressionistic, created while he was still a stockbroker in Paris. He associated with Camille Pizarro and Paul Cézanne.		Gauguin's earliest paintings were Impressionistic, created while he was still a stockbroker in Paris. He associated with Camille Pizarro and Paul Cézanne. However, as he took up painting full-time, Impressionism no longer satisfied him.

	[[File:Gauguin - Vision After the Sermon - 1888.jpg\|270px\|right\|thumb\|''Vision du Sermon'', 1888]]		[[File:Gauguin - Vision After the Sermon - 1888.jpg\|270px\|right\|thumb\|''Vision du Sermon'', 1888]]
	=== Pont-Aven colony and Synthetism ===		=== Pont-Aven colony, Cloisonism, and Synthetism ===
	In 1886 Gauguin spent the summer at Pont-Aven in Brittany, which had long been established as an artists colony. Paul Gauguin lived there for several years in the 1880s and 1890s as the central figure of the colony, along with Paul Sérusier, Émile Bernard, Charles Laval, Édouard Vuillard, Pierre Bonnard, Maurice Denis, and many others. Gauguin ventured into the '' ~~Cloisonnism'~~'' that was influenced by folk art and Japanese prints. Émile Bernard had pioneered this style of painting with strong outlines and flat areas of color, and Gauguin adopted it. He and the artists at Pont-Aven evolved toward what came to be called '''Synthetism''', where form and color became more balanced. Their work came to be distinguished by subject matter like that of the Belgian Symbolists; lack of interest in realistic representation; and bold use of colors. Their intention was to combine images in new ways that were completely unlike Impressionism.		In 1886 Gauguin spent the summer at Pont-Aven in Brittany, which had long been established as an artists colony. Paul Gauguin lived there for several years in the 1880s and 1890s as the central figure of the colony, along with Paul Sérusier, Émile Bernard, Charles Laval, Édouard Vuillard, Pierre Bonnard, Maurice Denis, and many others. Gauguin ventured into the '' Cloisonism'' that was influenced by folk art and Japanese prints. Émile Bernard had pioneered this style of painting with strong outlines and flat areas of color, and Gauguin adopted it.

			His painting, '''''Vision du Sermon''''', or ''The Vision after the Sermon, Jacob Wrestling with the Angel'', represents a transition into Cloisonism and beyond. Breton women are depicted watching a man wrestling with an angel - "presumably a shared vision of the sermon they have just head preached in church"... The thrill of the painting lies in the tension between abstract and naturalist details, between the real and the mystical.<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 199-200.</ref>
			<blockquote>
			It marks his final departure from Impressionism, a school of which he had never been fully part, and signals his creation of something entirely new. While the work had all the hallmarks of the recently defined Cloisonism, it already left it far behind. More than that, with its many layers of meaning, with its merging of biblical symbolism and personal mythology, the painting marks as great a break with the realist tradition as Seurat's ''Grande Jatte''.<ref>David Sweetman, ''Paul Gauguin: Complete Life'' (London: Hodder and Stoughton, 1995), 200.</ref>

			Gauguin and the artists at Pont-Aven evolved toward what came to be called '''Synthetism''', where form and color became more balanced. Their work came to be distinguished by subject matter like that of the Belgian Symbolists; lack of interest in realistic representation; and bold use of colors. Their intention was to combine images in new ways that were completely unlike Impressionism, and the synthesis was of the real and the imaginative.

	=== Influence on Les Nabis ===		=== Influence on Les Nabis ===
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	== Involvement with Theosophical Society ==		== Involvement with Theosophical Society ==

← Older revision		Revision as of 04:01, 8 October 2017
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	[[Category:Nationality French\|Gauguin, Paul]]		[[Category:Nationality French\|Gauguin, Paul]]
	[[Category:Famous people\|Gauguin, Paul]]		[[Category:Famous people\|Gauguin, Paul]]
			[[Category:People\|Gauguin, Paul]]

← Older revision		Revision as of 19:10, 1 November 2016
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	[[Category:Writers\|Gauguin, Paul]]		[[Category:Writers\|Gauguin, Paul]]
	[[Category:Nationality French\|Gauguin, Paul]]		[[Category:Nationality French\|Gauguin, Paul]]
	[[Category:Famous people\|~~Klee~~, Paul]]		[[Category:Famous people\|Gauguin, Paul]]