ArtofLegendIndia.com, Biggest Online Store of Handicrafts Items, Paintings and Jewelry Accessories...

Handicrafts

Handicrafts are devices or works of art that are made completely by hand or by the use of relatively simple tools. Such goods are usually made in the traditional way of manufacturing goods. Therefore, the knowledge of the art of craft is usually passed down from one generation to another. The items made using these traditional methods of manufacturing are usually produced in smaller quantities and they often represent the culture or religious beliefs of the community that makes them. The goods are also handmade from natural materials that are found in the environment of the particular economy.

Read More!

Biggest Online Store of Handicrafts Items

Paintings

A painting is equal to thousand words, means a beautiful painting is equal to million of words. Paintings are one of the oldest art forms -- throughout history artists have played an important role in documenting social movements, spiritual beliefs and general life and culture.

History Of Paintings: The history of painting reaches back in time to artifacts from...

Read More!

Biggest Online Store of Unique Style Paintings
Showing posts with label Paul Gauguin. Show all posts
Showing posts with label Paul Gauguin. Show all posts

French Great Artist Paul Gauguin - A Year in the Life 1889

Posted by Art Of Legend India [dot] Com On 10:40 PM 0 comments

A year in the life 1889

Rele Panhard (1841-1908) and Emile Levassor (d.1897) produced the first car with an internal combustion engine mounted at the front, and transmission to carry power to the rear wheels. The prototype was completed by 1889.
The collapse of the Panama Canal scheme, on which Gauguin himself had worked as a labourer, was the worst financial scandal to hit France for centuries. Austria too was rocked by scandal, when the Crown Prince committed suicide with his lover. And in London, dock workers made history with a famous strike for wages of sixpence an hour.

For the Vicomte Ferdinand Marie de Lesseps promoter of the Suez Canal, diplomat, entrepreneur and a distinguished member of the French establishment 1889 was a disastrous year. His latest scheme, to build a sea-level canal across the Isthmus of Panama from the Atlantic to the Pacific, had collapsed around his ears. In February, the Panama Canal Company revealed debts of more than £60,000,000 and an official investigation exposed a vast scandal.

 SHORTAGE OF FUNDS 

There had been problems from the start, seven years earlier, for the Panama enterprise was hampered by a drastic shortage of funds. De Lesseps had underestimated the cost of the canal and asked for only 300 million francs. When work began there was mismanagement in the allocation of contracts, the design of the machinery and the organization of the work. Yellow fever killed off European workers as fast as they were sent out, and debilitated the survivors. Two years earlier Gauguin himself had worked on the Canal, but was forced to leave after a few weeks, racked with disease.


Early experiments used animal blood always fatally for transfusions. In 1889 Georges Hayem (1841-1933) made crucial progress in defining human blood groups.
To keep the work going at all, it had been essential to find more money, and such was De Lesseps' reputation that thousands of small investor’s cab drivers, shop-keepers, and peasants had poured their savings into the venture. But the problems continued to grow. Despite the importance of the enterprise for French prestige, the government refused any financial support until December 1888, when an issue of lottery bonds was finally authorized. And when these proved undersubscribed, the company had no choice but to go bankrupt in February 1889. It was the greatest financial disaster in France for 200 years.

The government tried to hush up the scandal, but eventually De Lesseps and some of his associates were put on trial. The enquiry revealed that financial control of the company was exercised by two Jews with dubious reputations but high political connections. These revelations caused the government grave embarrassment and fuelled the flames of anti-serenities in France. De Lesseps was arrested, convicted of misappropriating funds, and sentenced to five years in jail. But in the event, his punishment was restricted to public humiliation as the verdict was later quashed.

The same year the doomed Habsburg Empire of Austria and Hungary was also rocked by scandal. Crown Prince Rudolph, heir to Emperor Franz Joseph, shot himself through the head with a revolver on 29 January at Mayerling, a shooting lodge in the wooded hills some 20 miles from Vienna. Next to his body was found that of 17-year-old Baroness Marie Vetsera, the niece of a rich Levantine banker and a ravishing 'oriental' beauty. It was a suicide pact. But what was the motive?


SON AGAINST FATHER

The French scheme for building a canal through the Isthmus of Panama collapsed in 1889. It was underfinanced and mismanaged from the start, and the work force was decimated by yellow fever. The isthmus became a centre of gambling, brothel keeping and coffin making. The US Government took up the project in 1904, but used only one-third of the French excavations. They finally completed the canal in 1914.
Rumours of a family conflict were rife throughout Europe. The Prince, though a dreamer, was known to be at odds with his father's policy of appeasing Russia, their powerful neighbor. Moreover, Rudolph's marriage to Stephanie, daughter of Leopold II of Belgium, was not a success. It had been arranged by the Emperor and Rudolph took refuge in drink, drugs and love affairs.

The Prince wrote farewell letters to his wife and mother, but not a word to his father. Their contents have never been revealed, but it seems that Rudolph was mentally unbalanced, seized by a romantic vision of death. 1-le probably felt himself to be a failure, unable to translate his vision into political action when he saw his father's character and policy leading the Empire to disaster.


The 1889 International Exhibition in Paris displayed all the latest technology and attracted 2,500,000 visitors. The most spectacular exhibits were a large-scale model of the Earth and the Eiffel Tower completed that year.
But 1889 saw triumphs as well as tragedies. Gustave Eiffel, who designed the locks for the Panama Canal, had his greatest success on 31 March when he saw his 1,000 foot cast-iron tower inaugurated in Paris. The tower cost some £240,000 to build and weighed 7,000 tons. A spiral iron staircase of 1,600 steps ran up the centre of the tower, but most visitors found this too vertigo-inducing and preferred to take the lift, which took seven minutes to reach the summit.

THE PARIS INTERNATIONAL EXHIBITION

The Eiffel Tower was to prove the principal attraction of the Paris International Exhibition opened by the President of the Republic, Sadi Carnot, on 6 May. The Exhibition ran until 6 November, displaying the industrial and commercial wealth of France, and attracted 2,500,000 visitors. But 1889 was also the centenary of the French Revolution and the spirit of rebellion was aroused. When the President left his official residence at the Elysee Palace to drive by carriage to the Palace of Versailles, a disaffected, anti-Republican storekeeper named M. Perrin fired a revolver at him. But the cartridges were blank and the President was able to proceed to Versailles unharmed.

 

LONDON'S DOCK STRIKE

In 1889, during the 'Scramble for Africa', Italy sought to colonize Ethiopia. The Emperor Menelik II concluded the Treaty of Ucciali with the Italians, but later denounced its wording. The Italians invaded, but were repulsed in 1896. A contemporary cartoon shows Menelik treating the Italians gently after their defeat.
In London, political events were less flamboyant, but their influence was longer-lasting. In August and September, Ben Tillet led the London Dockers in their famous strike to demand 'the docker's tanner' a wage of just 6d an hour. The docker’s leaders were skilful in stirring up popular opinion and £4,500 was raised by general subscription. By the end of the year, their union numbered 30,000 members: evidence of the now rapid growth of unionism among semi-skilled and unskilled workers.

Not far from the docks, in the East End streets around Whitechapel, 'Jack the Ripper' continued his grisly business. In July the body of a woman called Mackenzie was found brutally murdered and, at dawn on 10 September, a policeman found a mutilated female torso under a railway arch in Whitechapel. In December, the year ended in triumph for the explorer Henry Morton Stanley who finally reached Zanzibar. But for Charles Parnell, the hero of Irish nationalism, 1889 ended in despair. He was cited in divorce proceedings by Captain O'Shea, the husband of his mistress Katherine. In Catholic Ireland, the disgrace finished Parnell's career, and the campaign for Irish Home Rule lost its most valuable leader.

Writer – Marshall Cavendish

French Great Artist Paul Gauguin -The Lure of Tahiti

Posted by Art Of Legend India [dot] Com On 4:57 AM 0 comments

The Lure of Tahiti


With its wonderful natural harbour at Matavai Bay, the island of Tahiti became the centre for early voyages to Polynesia. This picture, painted in 1773 by William Hodges, Captain Cook's artist on his second voyage, shows Cook's ships, HMS Resolution and HMS Adventure in the bay.
The jewel of the vast Pacific Ocean, Tahiti was famed as a paradise
on earth long before Gauguin visited its shores. European sailors
had savoured the island's pleasures since the days of Captain Cook.

In 1890, Gauguin wrote to a friend 'I am leaving for Tahiti, where I shall hope to end my days.' His decision was influenced partly by the fact that Tahiti was as far away from Paris as it was possible to get,, but also by the stream of enthusiastic reports reaching Europe from travellers who had visited the hauntingly beautiful island.

The unspoiled paradise of Gauguin's dreams, however, had vanished long before he reached the capital Papeete in 1891. There were church bells and gendarmes awaiting him as well as lovely garlanded maidens, stolid French housewives preparing old-fashioned country meals as well as carefree islanders living free off taro, yam and breadfruit. The 'mysterious beings' he had imagined before his arrival managed to consume 45,000 gallons of island rum and 65,000 gallons of imported claret each year.

Poedua was a Ra'iatean princess, painted in 1777 by Cook's artist on HMS Resolution John Webber. She epitomizes the beauty of Tahitian women: delicate tatoos decorate her arms, and in her right hand she holds a fly whisk.
But the place itself was too lovely and the people too resilient for either to be spoiled completely. Communications were so bad that Europeanized Papeete could not make much of an impression on the rest of the island. Even today the only real road follows the coast, and in the 1890s, the interior was largely trackless. In rural districts, people lived much as they always had, by fishing or small-scale farming.

AN EXTINCT VOLCANO

Tahiti had a mesmerizing effect on Gauguin, as it had on other European visitors since its discovery by Britain's Captain Samuel Wallis in 1767. An extinct volcano lost in the immensity of the South Pacific, its lush, green slopes rise to a 7,349-foot peak, high above a shoreline ringed by coral reefs that enclose lagoons swarming with fish. But it was the island's inhabitants who made the greatest impression on the early explorers. They were handsome and easy-going people, Polynesians whose ancestors had settled around 4,000 years ago. In Tahiti they had evolved a lifestyle that Westerners, accustomed to the drudgery g. of their own societies, saw as a kind of paradise. The climate, though a little damp, was balmy and reasonably cool by tropical standards. Fish and shellfish, breadfruit and bananas seemed to be had for the asking, without labour. There was little need for clothing. And as Wallis and his crew discovered to the captain's horror and the men's delight the languid young women of the island were only too willing to exchange their favors’ for some trifling gift. Iron nails were the favoured currency: by the time Wallis sailed for home after a F month's sojourn, the fixed bayonets of his Royal Marines were barely enough to stop his men prising out every iron fastening in the ship.

British seamen arriving at Tahiti soon learned that the beautiful island women were usually only too pleased to exchange their favors’ for gifts. But approaching the wrong woman could be very dangerous, and even result in death.
While Wallis, a tough but unimaginative officer, was preparing his report for the Admiralty, an explorer with a more philosophical turn of mind 5 was making his landfall on Tahiti. Louis Antoine de Bougainville was not only a soldier and a navigator. He was also steeped in the new ideas sweeping 18th-century Europe. And in Tahiti he found a reality to match philosopher Jean-Jacques Rousseau's ideal of the noble savage of man at peace with nature.

Bougainville and his crew were welcomed as Wallis had been. 'They pressed us to choose a woman and to come on shore with her,' he wrote, 'and their gestures, which were unmistakably clear, denoted in what manner we should form an acquaintance with her.' His naturalist, Philibert Commerson, enthused about 'natural man, who is born essentially good, free of every prejudice, and who follows, without defiance and without remorse, the gentle impulses of instinct not yet corrupted by reason.'

WARRIOR SOCIETY

Commerson's was a notion that endured until Gauguin's time and after. But although it contained a germ of truth, it was largely illusion born out of wishful thinking. For life on Tahiti was no idyll. The islanders did not use the leisure time granted by their comfortable environment to live the kind of rapturous, untrammelled existence dreamed of by European philosophers. Instead, with or without assistance from 'the gentle impulses of instinct', they had created a fierce warrior society that indulged in slavery and human sacrifice.

Tahitian religion centred on the worship of gods and ancestral spirits and could involve human sacrifice. Sorcerers used wooden images, known as ti'i, when mobilizing the spirits to harm their enemies.
Nor did the blithe promiscuity of many young Tahitian women mean that they were devotees of free love. In fact, the Tahitians had a complex set of rules for sexual behavior inside and outside marriage, which even today anthropologists have not fully elucidated. a European who made an enthusiastic grab for the wrong woman could and often did pay for it with his life.

Nevertheless, the island never lost its seductive fascination. Captain James Cook, who visited it in 1769, was reduced to holding Tahitian chiefs hostage to obtain the return of deserters from his ship and Cook was a well-loved leader. In 1789, the contrast between Tahitian life and Royal Naval discipline was enough to provoke the celebrated mutiny on HMS Bounty. Regardless of its flaws, paradise Tahiti-style was better than life on ship.

But the coming of the Europeans was itself enough to put an end to the old way of life. The newcomers brought syphilis, a poor return for the island women's affections. They brought measles and smallpox and a host of other diseases to which the Polynesians had little or no resistance. They brought rum. And unscrupulous and well-armed Europeans took sides for their own advantage in the island's internal quarrels, which were bloody enough already without their help.

DESTRUCTION OF A PEOPLE

The results were quite devastating. According to some estimates, Tahiti's 402 square miles supported as many as 150,000 people before the Europeans came. By the end of the century the population had crashed to 15,000; by 1830 it had fallen to 8,000.

Missionaries did their own kind of damage. Their first settlement was established in 1797, and although they did their best to protect their flocks from the ravages of drink and disease, they eventually succeeded in undermining the local traditions that any society needs in order to keep its self-respect. The islanders were told of the evils of nakedness and fornication, and introduced to the doctrinal distinctions between Calvinists and Catholics and all the other Christian sects.

An early photograph shows the Royal Family Western-style clothing outside their residence on the island of Raiatea. Before the advent of Christianity, the nearby island had been Tahiti's centre of worship.
Outright colonization followed. Anglo-French rivalry ended with a half-hearted French Protectorate established in 1843; the last Tahitian king with any pretence at independence abdicated in 1880 and in that year the island became a full French colony.

Tahiti's fate could have been much worse. By 19th-century standards, the colonial administration was efficient and humane. Outside the capital of Papeete, French was seldom spoken, and disputes were more likely to be settled by ancient tribal law than official regulations. Christianity had successfully driven out the old pagan worship, and even the names of ancient gods had been forgotten; but although Tahitians had become regular church-goers, traditional festivals of song and dance had survived.

A cold observer would see that imported, factory-woven cloth had replaced native products, that there was much hymn-singing, that bit by bit the population was beginning to drift towards the modestly bright lights of Papeete. But a painter would see what his mind wanted to see. Paradise, like beauty, was in the eye of the beholder. 

Writer – Marshall Cavendish

Paul Gauguinsteries of Paradise

Posted by Art Of Legend India [dot] Com On 12:28 AM 0 comments
Gauguin combined his critical eye and powerful line with a taste for caricature as in this striking self-portrait. Religious emblems are in generous supply: a halo hovers above Gauguin's head, he holds a snake in his right hand, and the apples of the Garden of Eden hang beside him. These biblical symbols of good, evil and temptation are set in a decorative framework.
The exotic culture of the South Sea Islands held a powerful fascinatio  for Gauguin, who chose strange, vivid colours to express the beauty and the mystery he experienced there. 

Paul Gauguin was in his early twenties when he took up painting. At first art was no more than a hobby, but he admired and bought the work of the early Impressionists, and based his own style on theirs. As his dedication grew, however, Gauguin soon realized that although these artists, with their bright colours and bold technique, had freed painting from traditional bonds, Impressionism too was limited in scope. Gradually he moved forward to develop the ideas that made him with Van Gogh and Cezanne one of the greatest of the Post-Impressionist artists. 

The Impressionists had painted the natural world with vividness and directness. But Gauguin was fascinated by ideas more than appearance and wanted his art to express strong emotions: 'Where does the execution of a picture start, where does it end? At the moment when intense feelings are found in the depth of one's being, when they erupt, and thought flows forth like lava from a volcano. Cold and rational calculation have nothing to do with this eruption, for who knows when, in the depths of his being, the work was begun, perhaps unconsciously?' To express such intensity of feeling, Gauguin had to develop a radically new style of painting. 


This decorative image, with its simplified shapes and intensified colour, evokes the relaxed, unhurried life which Gauguin sought in the South Sea Islands. He rejected the idea that a painting had to represent something we can see in the real world, and drew fresh inspiration from non-European art Gauguin was one of the first artists to take a serious interest in 'primitive' cultures. He spoke of his own 'savage blood', and, perhaps recalling his childhood in Peru, he felt a strong affinity for the vigour of prehistoric Central and South American art. He saw numerous examples of this type of work at the Paris World's Fair of 1889. 

 REVOLUTIONARY COLOUR


Gauguin also looked for inspiration to Egyptian and Cambodian sculpture, to medieval art and to Japanese prints. He collected postcards of painting and sculpture in a way that is now commonplace among artists and students, but which at the time was novel. In the expressive power of his colour, however, Gauguin went beyond any of his sources. The Vision after the Sermon, one of his most revolutionary paintings, used bright red completely unnaturalistically to set the emotional tone of the painting one of visionary intensity. 


The pivotal figure in Gauguin's allegorical life-cycle reaches up for fruit. Though the action repeats Eve's in the Garden of Eden, the fruit is a mango, not an apple.
The Vision after the Sermon was painted at Pont-Aven, where Gauguin briefly inspired a group of like-minded artists. But his personal style reached its fullest flowering in Tahiti. Gauguin's taste for religious and symbolic themes was richly sustained by the native traditions; the bright light produced the strong colours he loved; and the exotic beauty of the islanders made an over-whelming impact on him. He thought that his native models 'possessed something mysterious and penetrating, not beauty in the strict sense of the word. They move with all the suppleness and grace of a sleek animal, giving off that smell which is a mixture of animal odour and the scents of sandalwood and gardenia.'


A Quaker preacher, Hicks made over 100 versions of his vision of brotherly love.
One of the most characteristic features of Gauguin's work in Tahiti is his use of flat, frieze-like compositions, in which he was perhaps influenced by Egyptian art. This kind of corn-position, in which Gauguin's imposing figures 'indescribably august and religious in the rhythm of their gestures' are arranged across the foreground, with little sense of depth, creates a mood of solemn majesty.
 

Gauguin's technique in the Tahiti paintings was no less distinctive than his composition. Materials were not easily available, so he often had to use coarse sacking rather than proper canvas, spreading his paint thinly to make it go further. From adversity he extracted inspiration, for the limitations of his materials forced him to paint with a rough vigour appropriate to his bold vision.
  
IMPACT ON MODERN ART

The complex composition of Where Do We Come From? Is, in fact, a combination of several previous paintings? The crouching woman and 'strange white bird' in the left-hand corner also appear in this picture of the legendary character Vairumati, which Gauguin had painted earlier in the year.When Gauguin died in 1903, very few people would have agreed with his words in a letter to his wife: `I am a great artist and I know it. It is because I am, that I have endured such suffering.' Three years after his death, however, 227 of his works were shown in a major exhibition in Paris; this firmly established his reputation among more progressive artists and his subsequent influence on 20th-century art has been immense. The emotional impact of his work and his complete dedication to art whatever the cost in personal suffering have made him, like his friend Van Gogh, one of the cult heroes of modern times. 





Writer – Marshall Cavendish

Great French Artist - Paul Gauguin's Life

Posted by Art Of Legend India [dot] Com On 12:36 AM 0 comments
Paul GauguinGreat Artist Paul Gauguin Life

Paul Gauguin was one of the most revolutionary painters of the 19th century, as unconventional in his art as he was in his lifestyle. At the age of 35 he abandoned a respectable business career to devote himself to painting, and his desire for personal and artistic freedom eventually made him an outcast from society. His final years were spent in the South Seas: poor, ill and often without proper materials for painting.

Gauguin soon reacted against the light-hearted style in which he began his career and turned to weightier subjects. His bold colours and shapes expressed his own inner vision rather than external reality. When he died, Gauguin was virtually forgotten, but an exhibition of his work in Paris three years later revealed his genius, and since then he has been one of the greatest influences on 20th-century art.

 

Stockbroker in the South Seas


When he became a stockbroker at the age of 23, Gauguin seemed to have settled for a conventional middle-class life. But adventure was in his blood, and 12 years later he risked everything for art.

The first self-portrait Gauguin painted dates from about 1885, two years after he had abandoned commerce for art in his mid-thirties.
Paul Gauguin was born in Paris on 7 June 1848. His father Clovis was a radical journalist, and there was radical blood on his mother's side, tooAline was the daughter of the Peruvian-born feminist and socialist Flora Tristan. But the year of Paul's birth was a bad time for radicals. By November 1848, Louis Napoleon had seized power in France, and his political opponents had a tendency to disappear. Clovis decided to visit his wife's relatives, and the family sailed to Peru in 1849.

Clovis died of a heart attack on the journey from France, but Aline, with Paul and his sister Marie, spent the next six years in Lima under the protection of her great-uncle. Then Paul's grandfather died in France, and the family returned to take up their inheritance in the old man's home town of Orleans.

Dull, provincial and thoroughly bourgeois, Orleans was a depressing contrast to colourful, subtropical Peru, and Paul hated it. When he was 17, he did what thousands of restless, adventurous young men had done before him: he went to sea. He worked for three years on a merchant vessel, and when he became due for military service in 1868, he chose to serve his stint in the navy.

Paul was released from the service in 1871, and it seemed he had got the taste for adventure out of his system. He was 23, and it was time for him, as a young man of respectable family, to settle down. His mother had died while he was still at sea, but had previously arranged for the wealthy banker Gustave Arosa to be Paul's guardian. Arosa was happy to use his contacts to find him a post with a leading Paris stockbroker.

Gauguin's maternal grandmother was the Peruvian-horn feminist and socialist Flora Tristan, a woman more given to organizing trades unions and leading demonstrations than to home-making. Her husband was sentenced to 20 years' hard labour for trying to murder her.

A BUSINESS CAREER


Gauguin's clerkship was a comfortable, well-paid job, and it gave him plenty of opportunity for lucrative speculation on the stock exchange. An affluent middle-class future seemed assured. In 1873 he married a Danish girl, Mette Sophie Gad, and they progressed from a fine apartment in town to an even finer suburban house, as Mette regularly produced the next generation of Gauguin’s. By 1883, he had money, a business reputation, a good home and five children.

But Gauguin had developed a hobby he liked to paint. His interest in art was encouraged by his guardian, who had a fine collection of paintings and in whose house most of the best-known painters of the day appeared from time to time. Gauguin was encouraged also by Arosa's daughter, an amateur painter, and in 1874 he had some lessons with the Impressionist Camille Pissarro. But essentially he was self-taught.

The taste for colourful, exotic places that ran throughout Gauguin's life began with his childhood in Peru. He was taken there by his parents when a baby and lived there for six years with his mother's family.
At Arosa's house and elsewhere, Gauguin had met the leading Impressionist painters and even started to buy their work. He began to align himself with them, exhibiting in their group shows from 1879 onward. His paintings came in for a fair amount of praise, and they sold quite well. Gauguin must have toyed for some time with the idea of turning professional, but in 1882 his mind was made up for him by a stock-market crash. Gauguin's 'secure' job suddenly looked anything but secure. In 1883, confident of his ability to keep his family by painting, he resigned.

Unfortunately, the general climate of bankruptcy and despondency had much the same effect on the art market as on the stock market. By 1884, Gauguin's savings had run out, he had sold scarcely a painting and although a move from Paris to Rouen in Normandy had reduced his household expenses, his family was fast approaching destitution. Mette now took a hand. Her husband had had a year as a painter and failed; now she insisted the family move to her native Denmark.

Gauguin and his Danish wife Mette had five children during the first ten prosperous years of their marriage. Mette was a strong character who looked after the children when Gauguin abandoned them with everything else for his art.

DESERTING THE FAMILY


But their move was not a success. Although Gauguin found a job as a sales representative for a manufacturer of tarpaulins, he sold no more of his company's goods than he had of his paintings. Besides, his commitment to his art was now becoming total. Gauguin returned to painting and in 1885 left once more for Paris, leaving Mette with four children in Copenhagen. He took six-year-old Clovis with him.

The following year was perhaps the worst in Gauguin's life. By the winter of 1885-6, he was penniless, and he and his son were reduced to living in one miserable room. Cold and undernourished, the boy contracted smallpox; to feed him, Gauguin managed to find work as a bill-poster for a railway company. Remarkably, Clovis recovered, but it was the last time Gauguin did anything for his family. From now on, their fate was in Mette's hands.

In June, Gauguin moved once more, to Pont-Aven in Brittany, where he found not only cheap lodging but the company of appreciative fellow-artists. But there was no financial success to match his growing confidence. Returning to Paris at the end of 1886, he almost starved during the winter. The following year, he decided to make a complete break. 'Paris,' he wrote, 'is a desert for a poor man. I must get my energy back, and I'm going to Panama to live like a native.'

In 1871 Gauguin began work as a clerk with the firm of Bertin, a leading Paris stockbroker. His career flourished for 12 years (he became Bertin's chief assistant), but he resigned to be free 'to paint every day'. Somehow he scraped together the fare, but 'living like a native' in Panama turned out to mean labouring with pick and shovel in the abortive canal project then under way. After a few weeks, sick with fever, he gave up on Panama and ventured to Martinique in the French West Indies. Four months later, ill-health and poverty forced him back to France, and he returned to Brittany.

A VISIT TO VAN GOGH


Creatively, this was a vital period. At the age of 40, he was finding himself at last as a great and original painter. But the Brittany winters de-pressed him. In October 1888, he accepted an invitation from Vincent van Gogh, whom he had met two years earlier in Paris, to pass the winter with him at Arles, in the South of France. But Gauguin had been there only two months when Van Gogh went famously insane, and threatened him with a razor. There was nothing for it but to return to Paris.

Over the next few years, Gauguin alternated between Paris and Brittany, producing some of his best work. His reputation among his contemporaries had never been higher, but he was still desperately short of money, and he had never lost his yearning to return to the tropics. Finally he settled on another French colony Tahiti and on 1 April 1891, he sailed from Marseilles.

Gauguin often worked in Brittany an isolated region of north-west France. It was a place of ancient traditions and simple faith, and the people and the landscape appealed to Gauguin. He was particularly inspired by the granite churches, with their medieval carvings.
At first, Tahiti was not what he had hoped for. He got a friendly reception from the Governor, and an audience was arranged for him with the last native king, Pomare V, who Gauguin hoped would prove a source of commissions. But Pomare died suddenly of drink a few hours before the audience. Soon Gauguin was disgusted with the capital of Papeete. 'It was Europe all over again,' he wrote, 'just what I thought I had broken away from made still worse by colonial snobbery.'

In the country district of Mataiea, however, Gauguin found the peace he wanted and a young Tahitian girl to share his hut. Even in paradise, though, the need for money reared its ugly head. Despite his dreams, Gauguin could not live for free. He lacked the skills to fish or to farm, and in a community of self-sufficient families there was no real possibility of buying food. He had to rely on expensive and incongruous European canned and dried produce, bought in Papeete. A spell of ill-health made further inroads into his savings, and in 1893 he had to apply to the Governor to have him-self repatriated to France.

RETURN TO TAHITI


Gauguin sitting on the kerb, third from the right poses with fellow artists outside the Pension Gloanec, the favorite hotel for painters.
It was a humiliating return, but the canvases that Gauguin brought back with him persuaded a leading Paris gallery-owner to give him an exhibition. Though sales were poor, Gauguin found himself the centre of the art world's interest. And he had a financial windfall: an uncle back in Orleans died and left him enough money to set up his own studio in Montparnasse. But he was determined to return to Tahiti, and left France for the last time in July 1895.

The eight years that remained to him were great ones for his art, but Gauguin's life was often miserable. Most of the times he was desperately short of money and could rarely afford the stays in hospital that his worsening health due to syphilis demanded. In 1897, he even attempted suicide. The following year, he contemplated abandoning painting, and had to take a miserable job as a draughtsman to pay off at least some of his debts.
Bernard (1868-19-11), who had studied in Paris Lautrec and Van Gogh, worked closely with Gauguin at Pont -Aven in the late 1880s

Disgusted by colonial society and its effects on the Tahitians, Gauguin took to writing vitriolic articles for a local newspaper. In 1901, he abandoned the island altogether and made the 800-mile journey to the Marquesas Islands, where he settled in the village of Atuona. There, he built his last dwelling, 'The House of Pleasure', as he called it. Money at last was coming from Paris, and Gauguin was working happily as well as hard. But he was still making enemies. His attacks on the colonial administration continued and he waged a continuous war with the Catholic Church.

In 1903, the authorities took their revenge. Gauguin was sentenced to three months' imprisonment for 'defamation'. He never served the sentence. On 8 May 1903, aged 54, he died while awaiting the result of an appeal. The local bishop wrote an uncharitable epitaph. 'The only noteworthy event here has been the sudden death of a contemptible individual named Gauguin, a 3: reputed artist, but an enemy of God.' Posterity had a different verdict.  

Writer – Marshall Cavendish  

Company Overview

Art of Legend India has the distinction of being one of the best in the Indian Handicraft Industry. We are about 75 years old handicrafts manufacturer & exporter. We are having team of more than 500 craftsman.

We are having our business offices in India, USA & Germany to ensure our best services.

Total Pageviews