影響: 愛德華·蒙克,馬克·夏加爾,巴勃羅·畢加索,羅伯特·德勞奈,Constantin Brancusi,Aristide Maillol,文森特·梵高,Arts and Crafts,Mikhail Larionov,Victor Palmov,Emily Carr
朋友: 保羅·塞尚,文森特·梵高,Stanis?aw Wyspiański
Paul Gaugin是法國后印象派畫家、雕刻家、版畫家、陶藝家和作家，是象征主義運動中的重要人物，他的實驗表明現代藝術的綜合風格。他也為原始主義的鑒賞鋪平了道路，因為他的繪畫運用了許多由納雅和239所采用的簡單技巧；VE藝術家。他小時候和家人住在一起，七歲時搬到了法國奧爾良。作為一名成年人，他加入了法國海軍，后來被雇用為股票經紀人。在法國，他在空閑時間開始畫畫，并成為朋友Camille Pisarro，他把他介紹給其他藝術家。作為一個個體，他容易發生一次抑郁和自殺未遂。作為一個畫家，他對印象主義感到失望，因為他覺得歐洲繪畫的傳統只是模仿，缺乏他所希望的象征深度。他還充分享受了非洲和亞洲的藝術，充滿了象征性的深度、活力和意義。在他逃離歐洲傳統繪畫的過程中，他試圖找到一個熱帶天堂，在那里他可以以越來越原始的風格繪畫并生活在陸地上。他離開妻子和五個孩子和家人住在一起，并花了很短的時間在巴拿馬運河上當勞工。由于工作得不到認可，而且沒有錢，他航行到法屬波利尼西亞的熱帶島嶼塔希提島和馬奎薩斯。他在那兒的功勛引起了人們的極大興趣，尤其是他與當地年輕女孩的性剝削，其中一些出現在他的畫作中。在波利尼西亞，在與教會和殖民當局的沖突中，他經常站在當地人一邊，最終寫了一本關于他在那里的經歷的書。高更的物理逃避使他得以對文藝復興后繪畫進行文體上的逃避，因為他很少注意古典的透視，并且消除了色彩和陰影的漸變。受他生活的國家原始主義的鼓舞，他在繪畫中也運用了原始元素，取得了巨大的成功。我們從哪里來？我們是什么？我們要去哪里？這是保羅·高更最著名的一幅畫，他認為這是他的杰作，是他思想的高潮。在塔希提，當他畫他的杰作時，Gaugin宣稱他將在完成后自殺。雖然這是他以前嘗試過的，但事實并非如此，因為藝術家在1903死于梅毒。這幅畫是從右向左讀的，畫中的三個主要人物代表了標題的三個問題。這些人物是從人生的起步階段開始排列的，從帶著孩子的年輕人物，到中年的人物，再到畫中左邊的老人。背景中的偶像，在老年人的背后，代表著“超越”。
Artist :Paul Gauguin
Additional Name :Eugène Henri Paul Gauguin
Born :07 June 1848
Died :08 May 1903
Art Movement :Symbolism,Post-Impressionism
Influenced by :edgar-degas,camille-pissarro,giotto,raphael,jean-auguste-dominique-ingres,eugene-delacroix,edouard-manet,paul-cezanne,alfred-sisley
Influenced on :edvard-munch,marc-chagall,pablo-picasso,robert-delaunay,constantin-brancusi,aristide-maillol,vincent-van-gogh,artists-by-art-movement/arts-and-crafts,mikhail-larionov,victor-palmov,emily-carr
Friends and Co-workers :paul-cezanne,vincent-van-gogh,stanislaw-wyspianski
Art institution :Académie Colarossi, Paris, France
Paul Gaugin 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. He lived with his family as a child, and moved to Orleans’ France at the age of seven. As an adult, he joined the French Navy and later was employed as a stockbroker. In France, he began painting in his free time, and became friends Camille Pisarro, who introduced him to other 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. He left his wife and five children to live with her family, and spent a short time as a laborer on the Panama Canal. 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.
Where do we come from? What are we? Where are we going?, 1897
This is Paul Gaugin’s most famous painting, and he considered it his masterpiece, and the culmination of his thoughts. In Tahiti, as he was painting his masterpiece, Gaugin declared that he would commit suicide upon its completion. Although this was something he had previously attempted, this was not the case, as the artist died of syphilis in 1903. The painting was meant to be read from right to left, with the three main figures in the painting representing the three questions of the title. The figures are arranged from the beginning stages of life, from young figures with a child, to the middle aged figure in the middle, to the elder figure on the left of the painting. The idol in the background, situated behind the elder figure, represents the “Beyond.”