Jun 29, 2019
Artworks in Arcadja1204
Some works of Paul GauguinExtracted between 1,204 works in the catalog of Arcadja
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PAUL GAUGUIN. Les drames de la mer. 1889. Zinkografie. Aus e Zincography. From an unknown edition. Signed, dated and titled in the stone lower left: Paul Gauguin 89 Les drames de la mer Bretagne. Image 16.9 x 22.7 cm on wove paper 32.9 x 47.3 cm. Catalogue raisonné: Bezzola/Prelinger, no. 1e (there printed on yellow wove paper).
Auction: Sotheby's -May 15, 2019 - New YorkLot number: 148
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BRETONNE DE TROIS-QUARTS À GAUCHE Paul Gauguin 1848 - 1903 Signed with the initialsPG(lower left) Charcoal on paper 18 1/8 by 12 in. 46 by 31 cm Provenance Émile Bernard, Paris Héloïse Henriette Bodin Bernard, Paris (acquired from the above by 1893) Ambroise Vollard, Paris (acquired by 1904) Alex Maguy, Paris Walco, Ltd., Geneva Acquired from the above on February 20, 2002 Literature Daniel Wildenstein,Gauguin, Premier itinéraire d'un sauvage, Catalogue de l'oeuvre peint (1873-1888), vol. II, Paris, 2001, illustrated p. 301 Catalogue Note Gauguin arrived in Pont-Aven for the first time in June of 1886 and would return to Paris just four months later. Although brief, Gauguin\’s summer stay in this Breton village would prove revolutionary for his work. While the trip proved revelatory, the painter\’s initial reasons forleaving the city were as much economic as they were artistic. The previous year had been a period of extreme penury and financial strain. With only days left at his accommodation at 10 rue cail in Paris, a last-minute loan from the Stock Exchange allowed Gauguin to relocate to Brittany. As he wrote to his wife Mette just one month after arriving, \“I live on credit here… It\’s a pity that we did not settle in Brittany before… Here you can find a place for 800 F a month with a stable, an atelier and a garden. I am sure that with 300 F per month, a family could live very happily\” (quoted in André Cariou, \“Gauguin and the Pont-Aven School,\” in Paul Gauguin, Artist of Myth and Dream (exhibition catalogue), Complesso del Vittoriano, Rome, 2007-08, p. 50). Gauguin settled at the Pension Gloanec, the residence of choice for the Impressionists, andsoon began painting images of the local peasants and their picturesque costumes. The works produced during this initial stay in Pont-Aven would marry unique Bretonsubjectswith Impressionism and japonisme. The present work is a study for a figure in Bretonnes causant, a masterpiece depicting four Breton women chatting over the low dividing wall of a field (see fig. 1). When viewed in concert with the painting, Bretonne de trois-quarts à gauche reveals Gauguin\’s deep interest in the work of Japanese woodblock printers, known as ukiyo-e. The steep perspective, narrowed field of vision and the decorative nature of the picture plane all attest to this influence. At this time Gauguin also began to shift away from the teachings of his mentor Pissarro toward the work of Edgar Degas. The raised perspective and dynamic pose of the drawing\’s central figure are strongly reminiscent of Degas\’ ballerinas, much to the chagrin of Pissarro and his newfound predilection for Pointillism style (see fig. 2). Writing to his son Lucien, Pissarro stated, \“Gauguin is very friendly with Degas again and goes to see him often. Curious, isn\’t it, this see-saw of interests!\” (quoted in Judy Le Paul, Gauguin and the Impressionist at Pont-Aven, New York, 1987, p. 82). In the final months of his stay at Pont-Aven, Gauguin was sought out by an artist who would have a pivotal effect on his work. At only 18 years old, Émile Bernard was 20 years Gauguin\’s junior when they connected during a walking tour of Brittany. Intent on learning all that he could, Bernard would stay for two months despite Gauguin\’s chilly reception. The two would soon become the most innovative painters of the Pont-Aven School, working together for several years inthe eponymous townand neighboring Le Pouldu. The present work belonged to Bernard, who would later gift it to his mother upon leaving for travels in Egypt, Spain and Italy in 1893. Fig. 1 Edgar Degas, Danseuse assise, 1881-83, pastel on paper, Musée d\’Orsay, Paris
Auction: Sotheby's -May 14, 2019 - New YorkLot number: 25
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FEMME CARAÏBE Paul Gauguin 1848 - 1903 Oil on board laid down on cradled panel 26 1/4 by 21 3/4 in. 66.7 by 55.3 cm Painted in 1889. This work will be included in the forthcoming Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Marie Henry, La Pouldu & Kerfany, Brittany Galerie Barbazanges, Paris (acquired from the above on June 7, 1919) Marius de Zayas, New York (acquired by 1920) John Quinn, New York (acquired from the above on April 21, 1920) The Drs.Bakwin, New York (acquired from the estate of the above in1926) Thence by descent Exhibited Paris, Galerie Barbazanges, Paul Gauguin, Exposition d\’oeuvres inconnues, 1919, no. 5 (titledFemme caraïbe, La Martinique) New York, Marius de Zayas Gallery, Exhibition of Paintings byPaul Gauguin, 1920, no. 2(titledCaribbean Woman and Sunflowers) New York, The Metropolitan Museum of Art, Loan Exhibition of Impressionistand Post-Impressionist Paintings, 1921, no. 46 (titledCaribbean Woman and Sunflowers) New York, The Metropolitan Museum of Art, Impressionist & Post-Impressionist Paintings, 1931, no. 46 New York, Wildenstein & Co., PaulGauguin, 1946, no. 2 (titledCaribbean Woman and Sunflowers, Martiniqueand datedcirca1887) Palm Beach, The Society of the Four Arts, PaulGauguin 1848-1903, 1956, no. 7,(titledCaribbean Woman and Sunflowersand dated 1887-88) Coral Gables, The Lowe Gallery of the University of Miami, PaulGauguin 1848-1903, 1956, no. 6 (titledCaribbean Woman and Sunflowersand dated 1887-88) Paris, Galerie Charpentier, Gauguin, 1960, no. 33 Munich, Haus der Kunst, PaulGauguin, 1960, no. 45 (titledKaribische Frau vor Sonnenblumen oder "Die Erste Eva"and dated 1889-90) Miami, The Joe and Emily Lowe Art Gallery of the University of Miami,Renoir to Picasso, 1963, no. 58 London, The Tate Gallery, Gauguin and the Pont-Aven Group, 1966, no. 32, illustrated in the catalogue (titled Caribbean Woman with Sunflowers) New York, Wildenstein & Co., The Dr. and Mrs. Harry Bakwin Collection, 1967, no. 20, illustrated in the catalogue (titledNu et tournesols and dated 1887-88) Tokyo, Kyoto et Fukuoka, 1969, no. 17 Washington, D.C., Hirshhorn Museum and Sculpture Garden, \“The Noble Buyer:\” John Quinn, Patron of the Avant-Garde, 1978, no. 27, illustrated in color in the catalogue Aosta, Antico Convento Saint-Benin,Museo Archeologico Regionale, Gauguin eti suoi amici Pittori in Bretagna, Pont-Aven et Le Pouldou, 1993, n.n., illustrated in color in the catalogue Chicago, Art Institute of Chicago & Amsterdam, Van Gogh Museum,Van Gogh and Gauguin: The Studio of the South, 2001-02, no. 107, illustrated in color in the catalogue (titledFemale Nude with Sunflowers) Copenhagen, Ny Carlsberg Glyptotek & Seattle, Seattle Art Museum, Gauguin Polynesia, 2011-12, no. 31, illustrated in color in the catalogue Chicago, The Art Institute of Chicago, Gauguin: Artist as Alchemist, 2017-18, no. 76, illustrated in color in the catalogue Literature Charles Chassé, Gauguin et le groupe de Pont-Aven, Paris, 1921, pp. 40 & 48 Jean de Rotonchamp, Paul Gauguin 1848-1903, Paris, 1925, p. 77 Forbes Watson, ed., John Quinn 1870-1925. Collection of Paintings, Watercolors, Drawings and Sculpture, New York, 1926, illustrated p. 59 Henri Dorra, \“The First Eves in Gauguin\’s Eden\” in Gazette des Beaux-Arts, Paris, March 1953, pp. 192-94 & 225; illustrated p. 193 (titledEve) Charles Chassé,Gauguin et son temps, Paris, 1955, p. 74 John Rewald, Post-Impressionism from Van Gogh to Gauguin, New York,1956, p.295 & illustrated p. 445 (titledCaribbeanWoman with Sunflowers) Christopher Gray, Sculpture and Ceramics of Paul Gauguin, Baltimore, 1963, illustrated p. 209 Georges Wildenstein, Gauguin, Paris, 1964, no. 330, illustrated p. 127 Gabriele Mandel Sugana, L\’Opera complete di Gauguin, Milan, 1972, no. 194, illustrated p. 98 Le Chemin de Gauguin, genèse et rayonnement (exhibition catalogue), Musée Départmental du Prieuré, Saint-Germain-en-Laye, 1986, illustrated p. 121 Paul Gauguin (exhibition catalogue), The National Museum of Modern Art, Tokyo & Aichi Prefectural Art Gallery, Aichi, 1987, illustrated p. 89 Gauguin\’s Nirvana, Painters at Le Pouldu 1889-90 (exhibition catalogue), Wadsworth Atheneum Museum of Art, Hartford, illustrated in color p. 75 The Lure of the Exotic, Gauguin in New York Collections (exhibition catalogue), The Metropolitan Museum of Art, New York, 2002, illustrated p. 164 Gauguin Tahiti (exhibition catalogue), Musée d\’Orsay, Paris & Museum of Fine Arts, Boston, 2003-04, illustrated in a reconstruction of Marie Henry\’s inn p. 156 Gregory Selch, ed.,The Bakwin Collection, Paintings and Sculpture, 1925-1970, Collected by Drs. Ruth & Harry Bakwin, New York, 2004, illustrated in color n.p. Henri Dorra, The Symbolism of Paul Gauguin, Erotica, Exotica, and the Great Dilemmas of Humanity, Berkeley, 2007, pp. 93-97, illustrated in color p. 96 (titled Female Nude with Sunflowers) Paul Gauguin: The Breakthrough into Modernity (exhibition catalogue), The Cleveland Museum of Art, Cleveland & Van Gogh Museum, Amsterdam, 2009-10, illustrated in color p. 173 André Carious, Gauguin et l\’École de Pont-Aven, Paris, 2015, illustrated in a reconstruction of Marie Henry\’s inn p. 252 Paul Gauguin,Femme caraïbeby Charles Stuckey One of the icons of post-impressionism, Gauguin\’s so-called Femme caraïbe features a stiffly posed fully-frontal nude non-European young woman, the color of fired clay, as a challenging affront to the submissive European nudes, lackingbody hair and posing as Western allegories, that were celebrated by theSecond Empire art world. Hardly seductive, the nudity of Gauguin\’s mysterious figure isinstead an image of female strength, possibly conceived in sympathy with the writings of his proto-feminist maternal grandmother, Flora Tristan. To show disdain for the coy perfection of nudes by Ingres and his many followers, Gauguin pretended to miscalculate the size of his figure in relation to the size of the panel, with the clumsy result that her raised left arm and her feet extend beyond the edges of his painting. But representing his figure at this scale endows it with a visual force quite literally beyond any frame. Even more obvious is Gauguin's miscalculating, or mismatching, the size of his dark bronze Eve against the vibrant golden background's three gigantic, fully opened sunflowers. Starting in the late 1880s, Gauguin\’s most ambitious works are based on a similar dissonance between his figures and their background settings, which the artist portrayed not as the space where the figures are physically located, but as a space where their thoughts and feelings are psychologically and mythically rooted, an often emphatically monochromatic space, saturated withevocative tones. Although Gauguin omitted any specificinscriptionon the oddly vegetal, green-tinted banderole that is unfurled behind his nude, its presence designates her as a mysterious symbol for which there are no words. Possibly intended to suggest blindness or some sort of supernatural visual capacity, her eye isleft blank. The gesture of her right hand can be found in medieval Cambodian sculptures, replicas of which were on view in Paris at the 1889 Exposition universelle, where Gauguin could also have observed Javanese dancers using the same traditional hand movements. The left arm crooked over her head refers to the pose of Michelangelo\’s Dying Slave in the Louvre, as if Gauguin wanted to synthesize Western and non-Western traditions in his modern transcendental nude (see fig. 1). Followingthe 1874 celebrations around the four-hundredth anniversary of Michelangelo\’s birth, this gesturebecame widely, if not obsessively referencedby such artists as Paul Cézanne and Auguste Rodin—both venerated by Gauguin. Its hypnotic visual impact aside, the full meaning of Gauguin\’s mysterious nude with sunflowers involves its genesis in late 1889 as part of a remarkable ensemble of masterpieces, including Self-Portraitwith Halo and Snake(see fig. 2), now at the National Gallery of Art in Washington, D.C., and Portrait of Meyer de Haan (see fig. 3)in The Museum of Modern Art, New York. The title Femme caraïbethat has always been associated with this painting refers to the months-long trip that Gauguin made to Panama and Martinique in 1887, after abandoning his wife and five children in Copenhagen the previous year in order to fulfill his destiny as a visionary painter, sculptor and printmaker. Shortly after Gauguin returned from this adventure he allied himself with the dealer Theo van Gogh. Theo\’s aspiring artist brother Vincent was already obsessed with emotionally charged still-life paintings of sunflowers and hoped toentice Gauguin into sharing a studio with him in the South of France by decorating that studio with such paintings (see fig. 4). Bankrolled by Theo, the destitute Gauguin agreed to join Vincent in Arles for the final months of 1888, where he portrayed him at work on one of his Sunflower paintings (see fig. 5). As is well known, their experimental art colony ended in calamity, when Vincent lost his mind and mutilated himself. Painted a year later,Femme caraïbe is obviously an homage to Vincent, a synthesis of their ideas about a modern art utopia, a "Studio of the South" or a "Studio of the Tropics." The haunting still lifes with sunflowers that Gauguin painted in 1901 on the remote island of Hiva-Oa testify to how this idea would remain on his mind for the rest of his life (see fig. 6). The Dutch painter Meyer de Haan, a friend of Theo van Gogh, undertook a similar art partnership with Gauguin only months after his failed experiment with Vincent. Leaving behind the art scene and the World\’s Fair in Paris, Gauguin and de Haan returned to Brittany in the fall of 1889 and settled at an inn in the remote seaside village of Le Pouldu. In November the artists began to collaboratively create an elaborate décor for the doors, walls and ceiling of the inn\’s dining room (see fig. 7). Installed in the lower panel of one of the doors, Femme caraïbe is partly visible (the figure\’s head and the golden setting) in the background on the right side of a tabletop still life painted by Gauguin during the winter of 1889-90 (see fig. 8). Like Femme caraïbe, this slightly later still life features a floral bouquet and a non-European nude in the form of a small blackened terracotta statuette that Gauguin had made as part of the same dining room ensemble. Gauguin had begun to represent some of his ultra-modern ceramic sculptures in his paintingsas early as1886, whether in tabletop still-life arrangements or in the backgrounds of portraits. Considering this emphasis on his sculpture in his paintings, it is impossible not to wonder if the nude in Femme caraïbe, with its rigid anatomy, should be understood to represent a sculpture rather than any living model. An advocate for polychromy in modern sculpture, in 1890 Gauguin is known to have glazed another nude statuette in black, except for the hair which he painted an ivory hue. Whether or not he glazed the hair black, as it appears in Femme caraïbe, Gauguin did in fact make a terracotta statuette with the same pose, though the only document of this lost work is a photograph sent by Gauguin to his friend and fellow artist Émile Bernard in August 1890 (see fig. 9). Scolding Bernard for his preoccupation with Michelangelo, Gauguin explained how he had accidentally broken this sculpture, losing the left leg and with it the idea of the movement he had sought to capture. Remarkably enough, Gauguin also carved a wooden sculpture inan identical posewhich also lacks a proper left leg, as if it was based on the broken terracotta (see fig. 10). The wood version holds a flower in her right hand, a counterpart to the sunflowers in the background of Femme caraïbe. With these closely related sculptures in mind, Gauguin\’s painting may represent some stage in the dynamic evolution of his sculpture around 1889-90 as much as it epitomizes his pioneering transformation of the fundamental figure-ground relationship in modern painting from description to revelation. Although it has not been possible to establish the exact sequence of closely related works, it is nevertheless clear that Femme caraïbe, with its frontal nudity and its hieratic pose, introduced an important new character into Gauguin\’s repertoire as a painter and printmaker. The figure in Femme caraïbe is the prototype for the most daring nude that Gauguin made in Tahiti, Te Nave Nave Fenua, in which the flowerscan be seen as accomplices to temptation (see fig. 11). Introduced with Femme caraïbe, Gauguin\’s influential re-invention of the nude as a symbol of ancient and sacred power would immediately inspire a generation of artists across Europe, starting with Henri Rousseau and his champion Pablo Picasso. It was the spirit of Gauguin that seemingly guided Picasso in 1907-08, as he developed the strange beauty and otherwise unprecedented contortionsseen inLes Demoiselles d\’Avignonand other monumental nudes from the series (see fig. 12). Charles Stuckey is an independent scholar based in New York who was one of the curators for the 1988-89 exhibitionThe Art of Paul Gauguin held at the National Gallery of Art, Washington, D.C, the Art Institute of Chicago, Chicago and the Grand Palais, Paris.
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PAUL GAUGUIN Maruru. Woodcut on Chine volant, 1893-94. 205x357 mm; 8 1/8x13 7/8 inches, full margins. Edition of 100, published by the artist's son, Pola Gauguin, in 1921. Signed "Pola Gauguin imp" and inscribed "Paul Gauguin fecit" in pencil, lower margin, and numbered "No 96" in pencil, upper left. A very good, richly-inked impression. Kornfeld 22.
Auction: Christie's -Apr 17, 2019 - New YorkLot number: 214
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PAUL GAUGUIN (1848-1903) Portrait de Stéphane Mallarmé etching, on simili Japon paper, 1891, a good impression of Mongan, Kornfeld & Joachim's second state (of four), one of ten known impressions, printed by Delâtre, Paris, with margins, in good condition, framed Image: 7 1/8 x 5 5/8 in. (183 x 143 mm.) Sheet: 9 ½ x 7 3/8 in. (241 x 187 mm.)