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Paul Gauguin

France (Paris 1848 -  Iwa 1903 ) Wikipedia® : Paul Gauguin
GAUGUIN Paul  L'univers Est Crée

Stair Galleries
Dec 2, 2017
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Artworks in Arcadja
1050

Some works of Paul Gauguin

Extracted between 1,050 works in the catalog of Arcadja
Paul Gauguin - Femmes, Animaux Et Feuillages

Paul Gauguin - Femmes, Animaux Et Feuillages

Original 1898
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Lot number: 58
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PAUL GAUGUIN (1848-1903) Femmes, Animaux et Feuillages woodcut, 1898, on tissue-thin laid Japan paper, a richly inked impression, numbered No 7 in black ink to the left of the artist's printed initials, from the edition of no more than forty impressions printed by the artist, with margins above and below, trimmed to the printed borders at left and right, time-staining, tipped to a card support at the sheet corners, two short tears at the upper right corner, otherwise in good condition Sheet 215 x 299 mm.
Paul Gauguin - Masque

Paul Gauguin - Masque

Original 1891
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Lot number: 254
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D'après Paul Gauguin (1848-1903) Masque numéroté et avec le cachet du fondeur 'Landowski Fondeur 6/8' (au revers) bronze à patine brun vert 25 x 19 x 7.7 cm. Conçu vers 1891-93; cette épreuve fondue ultérieurement dans une édition de 8 exemplaires numbered and with the foundry mark 'Landowski Fondeur 6/8' (on the reverse) bronze with brown and green patina 9 7/8 x 7 ½ x 2 7/8 in. Conceived circa 1891-93; this bronze cast at a later date in an edition of 8
Paul Gauguin - Tête De Tahitienne

Paul Gauguin - Tête De Tahitienne

Original 1894
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Lot number: 55
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Paul Gauguin (1848-1903) Tête de tahitienne (recto/verso) avec le cachet 'PGO' (en bas à droite, partiellement lisible) monotype réhaussé à la gouache et à l'encre (recto); encre et lavis sur papier Japon (verso) 29.3 x 21 cm. Exécuté en 1894 stamped 'PGO' (lower right, partially legible) monotype heightened with gouache and ink (recto); ink and wash on Japan paper (verso) 11 5/8 x 8 ¼ in. Executed in 1894 Cette œuvre sera incluse au catalogue raisonné en ligne de l'œuvre de Paul Gauguin actuellement en préparation par le Wildenstein Plattner Institute. Provenance Marcel Guérin, Paris. Collection particulière, Danemark. Huguette Bérès, Paris (acquis auprès de celle-ci, dans les années 1950). Puis par descendance au propriétaire actuel. Pre-Lot Text Ancienne collection Huguette Bérès Literature R. S. Field, Paul Gauguin : Monotypes, Philadelphie, 1973, cat. exp., p. 67, no. 24 (illustré). Post Lot Text Tête de Tahitienne a été réalisée par Paul Gauguin à Paris un an avant son départ pour un second séjour à Tahiti. Grâce à cet intermède en métropole, une multitude de matériaux sont à la disposition de l\’artiste, qui prend également part à des échanges stimulants avec d\’autres artistes pour approfondir son travail du monotype. La récente exposition Gauguin l\’alchimiste au Grand Palais à Paris nous le révèle; la quête de Gauguin qui est de livrer un art en opposition aux canons occidentaux est principalement motivée par une volonté de rechercher des innovations techniques, intégrant à son œuvre des découvertes fortuites pour souligner la nature révolutionnaire de son approche. À l\’instar de son précurseur Edgar Degas, Gauguin voit dans le monotype un terreau d\’expérimentation fertile, le procédé créant des aléas que l\’artiste aime à exploiter et suivre pour insuffler à l\’image une atmosphère, une tension. Pour réaliser la présente œuvre – un monotype par transfert – Gauguin prépare une surface plane, telle qu\’une plaque de verre sur laquelle est appliquée de l\’encre noire, puis y dépose une feuille de papier. Il dessine ensuite les contours de la tête à l\’arrière de la feuille, puis la retire pour transférer l\’image sur le papier. La couleur vert-brun du visage est appliquée par la suite au moyen du même procédé. C\’est là toute l\’alchimie de la technique, l\’acte de séparation de la feuille de papier de son support produisant une surface à la fois riche et fugace. En 1894, l\’imagerie de Gauguin est essentiellement tahitienne. Une nouvelle visite en Bretagne plus tard cette année-là ne signe pas un retour à la représentation des bretons et de leurs paysages, sujets chers à l\’artiste, au cours des huit précédentes années, marquées par différents séjours à Pont-Aven. Son premier séjour à Tahiti en 1891 est un stimulus si puissant que, même de retour en Europe, ses pensées ne quittent pas la belle île : son seul objectif est d\’y retourner. Tête de Tahitienne traduit le souhait de Gauguin de capturer le mystère subjuguant des tropiques, de le rendre visible aux yeux des autres artistes et de tous ceux qui viennent à ses expositions, afin qu\’ils comprennent la vertu révolutionnaire de son expérience à Tahiti. Le visage qui émane de cette œuvre est résolument exotique, sa morphologie témoigne d\’une culture totalement inconnue et non colonisée. Pour Gauguin, ce visage symbolise cette terre promise, qu\’il foulera bientôt de nouveau. Tête de Tahitienne was executed by Paul Gauguin in Paris a year before the artist left for his second trip to Tahiti. This interval in France provided the artist with renewed access to materials, as well stimulating exchanges with other artists, allowing Gauguin to further the exploration of his monotype work. As the recent exhibition Gauguin l\’alchimiste at Paris\’s Grand Palais has elucidated, Gauguin\’s search for an art in opposition to the accepted Western canon was driven to great extent by a willingness to seek out technical innovation, incorporating chance discoveries into his work in order to underline the revolutionary nature of his approach. As they had been for his precursor Edgar Degas, Gauguin\’s monotypes were a fertile ground for experimentation, the process itself creating happenstances which the artist would exploit and follow in order to add atmosphere and tension to his images. The present work, a transfer monotype, was produced by Gauguin first preparing a flat surface, such as a piece of glass, with dark ink and then laying a sheet of paper on top. He then drew the contour of the head onto the back of the sheet, pulling it away to transfer the image to the paper. The green/brown colour of the face was then applied in the same way, and it is here that the alchemy of the technique imposes itself most visibly, the act of separating the sheet of paper from its support producing a surface which is both rich and fleeting. By 1894 Gauguin\’s imagery was wholly Tahitian - despite a renewed visit to Brittany later the same year, he would not return to the depiction of the local Breton people and their landscape which had been his focus some eight years earlier during his time living in Pont-Aven. His first trip to Tahiti in 1891 had provided such powerful stimuli that even when back at home in Europe his thoughts were only of that place, and his plans were only of how to return there. Tête de Tahitienne translates Gauguin\’s wish to capture the overpowering sense of the mystery of the tropics, to render it visible to his fellow artists and those who came to his exhibitions, in order that they understand the revolutionary value of his experience in Tahiti. The face that looks out from this work is wholly exotic, its morphology speaks of a culture entirely unknown and uncolonised. For Gauguin such a face was the promised land, to where he would soon return.
Paul Gauguin - Nafea Faa Ipoipo

Paul Gauguin - Nafea Faa Ipoipo

Original
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Lot number: 115
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Description: Watercolour and colour tempera on paper entitled, "Nafea Faa Ipoipo. Signed and attr. Paul Gauguin (French, 1848-1903) on lower right corner, accompanied with certificate. 10.4 x 7.5 in (26.4 x 19.1 cm). A pioneer of the Symbolist art movement in France, Paul Gauguin is renowned for his “savage” art depicting sumptuous Tahitian women, nude bathers and haystacks in the Breton landscape, and decorative door panels around his hut on the Marquesas Islands in French Polynesia. Although Gauguin began his artistic career with the Impressionists in Paris, during the 1880s he sought to escape from Western civilization—first moving to Brittany and Arles in France, where he met Van Gogh, and then to French Polynesia—in search of a paradise were he could create pure, “primitive” art. “There is no such thing as exaggeration in art,” wrote Gauguin in 1885. “And I even believe that there is salvation only in extremes.” PROVENANCE: Germany, private auction (2000), acquired by present owner
Paul Gauguin -  L'univers Est Crée

Paul Gauguin - L'univers Est Crée

Original 1893
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Lot number: 166
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Lot 166 PAUL GAUGUIN (1848-1903): L'UNIVERS EST CRÉE Woodcut in black on chine volant, 1893-94, signed by the artist's son and inscribed 'imp', 'Paul Gauguin fait' and 'no. 43' in pencil, from the edition of 100 published by Pola Gauguin in 1921. 10 3/4 x 16 1/2 in. (sheet), 151 /4 x 20 3/4 in. (frame). Provenance: The Philadelphia Museum of Art; Sold Sotheby's, New York, May 3-4, 1996, Lot 526. Collection of Dr. Heinrich Medicus, Troy, NY
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