Paul Gauguin Art Institute Chicago

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Special Thanks to Beethoven for the Music: Piano Sonata No. 28 in A Major, Op. 101 - III. Langsam und Sehnsuchtsvoll and IV. Geschwind, but nicht zu sehr und mit Entschlossenheit
Very Special Thanks for the Vocals: The Art Institute of Chicago by Douglas Druick And The Rest of The Team: g.co/kgs/F6sqZ1
Special Thanks for the Footage: At The Art Institute of Chicago:
www.artic.edu/
This Film is Produced and Edited by Pepijn Gaillard - Star Arts 2020
Gauguin arrived in Papeete in June 1891. His romantic image of Tahiti as an untouched paradise derived in part from Pierre Loti’s novel Le Mariage de Loti (1880). Disappointed by the extent to which French colonization had actually corrupted Tahiti, he attempted to immerse himself in what he believed were the authentic aspects of the culture. He employed Tahitian titles, such as Fatata te miti (1892; “Near the Sea”) and Manao tupapau (1892; “The Spirit of the Dead Watching”), used Oceanic iconography, and portrayed idyllic landscapes and suggestive spiritual settings. In an attempt to further remove himself from inherited Western conventions, Gauguin emulated Oceanic traditions in his sculptures and woodcuts from this period, which he gave a deliberately rough-hewn look.
Paul Gauguin returned to France in July 1893, believing that his new work would bring him the success that had so long eluded him. More so than ever, the outspoken artist affected the persona of an exotic outsider, carrying on a famous affair with a woman known as “Anna the Javanese.” In 1894 he conceived a plan to publish a book of his impressions of Tahiti, illustrated with his own woodcuts, titled Noa Noa. This project and a one-man exhibit at the gallery of Paul Durand-Ruel met with little acceptance, however, and in July 1895 he left France for Tahiti for the final time.
Before the 1890s Gauguin flattened his imagery with sometimes unsuccessful results, but throughout that decade his “primitivism” became less forced. The influences of J.-A.-D. Ingres and Pierre Puvis de Chavannes led him to create increasingly rounded and modeled forms and a more sinuous line; as a result, Gauguin’s images became more luxuriant and more naturally poetic as he developed marvelously orchestrated tonal harmonies. He achieved the consummate expression of his developing vision in 1897 in his chief Tahitian work, Where Do We Come From? What Are We? Where Are We Going? (1897). An enormous contemplation of life and death told through a series of figures, beginning with a baby and ending with a shriveled old woman, the work is surrounded by a dreamlike, poetic aura that is extraordinarily powerful.
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Thanks for watching How Tahiti Inspired Paul Gauguin by P. Gaillard - Star arts 2020.
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