Filiger was a strange one. La montagne noire de Thann is tiny. It feels like a punch to the gut. This art belonged in a cathedral a thousand years old. The “kingmakers” missed it but Gauguin saw it. He knew Filiger was a mystic already living in the future.
#Filiger #Symbolist #ArtRebels #Gauguin
"Te tiare farani" (Flowers of France), created by Paul Gauguin in 1891. Artist: Paul Gauguin (1848–1903). Medium: Oil on canvas. Location: The original painting is housed in the Pushkin Museum of Fine Arts in Moscow, Russia.
Paul Gauguin
"Te Tiare Farani (French Flowers)" (1891)
Oil on canvas | 72 x 82 cm. (28.35 x 32.28 in).
The Pushkin State Museum of Fine Arts, Moscow, Russia
#ArtSky #Gauguin
Holy Week has begun. Some reflections on the strangeness of it all, here at the blog: www.conviviobookworks.com/blog/the-str...
#bookofdays #holyweek #maundythursday #gauguin
Rosas y estatuilla, 1889 Paul #Gauguin (francés, 1848–1903)
Musée des Beaux-Arts, #Reims www.instagram.com/musees.reims/
#museoparticular #painting #art
I'm so glad you're enjoying your visit to the beautiful city of #AMSTERDAM. I spent the very first week of 2oo8 there having arrived on New Year's Eve and LOVED it. Enjoyed smoking weed in public and visiting beautiful museums like the #VanGoghMuseum and also saw a #GAUGUIN exhibit.LOVED the fondue.
Paul Gauguin, "Forest Interior (Sous-Bois)," oil on canvas, 1884; Museum of Fine Arts, Boston. (Note the small figure, bottom center.) #gauguin #forest #nature #landscape #modernart #postimpressionist #art #arte #paintings #peintures #oilpainting #museum #artgallery
Aujourd'hui, on s'arrête sur ce beau tableau de Paul #Gauguin... Bon dimanche ! #art #peinture 🎨👨🏽🎨🖼️
Today we pause on this beautiful painting by Paul #Gauguin… Have a lovely Sunday ! 🎨👨🏽🎨🖼️ #art #painting
@lvtatoo.bsky.social
My virtual course, Van Gogh and Gauguin in Arles, for Roundtable by The 92nd Street Y begins Monday (3/2) and there's still time to sign-up and join us!
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For more details, visit: roundtable.org/live-courses...
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@roundtable92ny.bsky.social #Art #ArtHistory #Gauguin #VanGogh
Two Tahitian women are seated on a pale sandy ground before horizontal bands of blue-black water, green land and dark blue sky with streaks of white clouds. The woman at left, shown in profile, has medium-brown skin and long black hair tied back with a yellow ribbon and a white flower tucked near her ear. She wears a sleeveless white top and a red pareu printed with large white leafs. Her posture is folded and inward, with one hand braced on the ground and her gaze lowered. The woman at right, also with medium-brown skin, sits cross-legged facing forward in a loose pink, long-sleeved missionary dress. Her dark hair is pulled back with a pink ribbon, and her hands gather thin yellow plant leaves in her lap. Between them lie small objects painted in simplified forms. French artist Paul Gauguin compresses space and flattens depth, using matte passages of pink, red, cream, green, and blue. The brushwork is broad and layered, giving the figures weight while keeping the setting quiet and still. The painting is central to Gauguin’s first Tahiti period (1891–1893) and shows the contrast between the left woman’s pareu and the right woman’s missionary-style dress, a visual marker of colonial change and cultural pressure in French Polynesia. The mood is not festive or theatrical. Instead, it feels paused, private, and psychologically distant. That stillness is part of the painting’s power. This painting should also be viewed critically because Gauguin’s Tahitian imagery is inseparable from colonial fantasy, exoticizing projection, and the unequal conditions under which he worked. The women are vividly present as individuals in the image, yet their names are not preserved, reflecting a broader archival pattern in colonial-era art. In 1891, Gauguin had left France seeking what he described as artistic and spiritual renewal, and he was developing the flattened color fields, strong contours, and symbolic atmosphere that shaped his Post-Impressionist and Synthetist legacy.
“Femmes de Tahiti (Tahitian Women on the Beach)” by Paul Gauguin (French) - Oil on canvas / 1891 - Musée d’Orsay (Paris, France) #WomenInArt #PaulGauguin #Gauguin #MuseeDOrsay #Muséed’Orsay #PostImpressionism #arte #artText #FrenchArt #art #TahitianArt #FrenchArtist #blueskyArt #ColonialArtHistory
Today's pick: Breton Calvary (1889) - Paul Gauguin.
Many towns in Brittany have a calvary at a central [..] #art #Gauguin
www.artbible.info/art/large/791.html
French artist Paul Gauguin presents a half-length portrait of a young Tahitian woman seated against a flat, radiant yellow field. She turns slightly to our right, eyes looking past us with a guarded peacefulness. Her skin is warm medium-brown and her dark hair is center-parted and braided over her shoulder. She wears a long-sleeved, high-necked blue-violet dress with a crisp white collar and lace-trimmed cuffs. Behind her, a broad red chair back frames her shoulders, while stylized green leaves float around her like decorative motifs. Her forearms rest across her lap and she holds an orange-yellow blossom with a green stem near her fingers. At the top, the painted words “Vahine no te Tiare” sit like a caption, and Gauguin’s signature and date appear to the upper right. Dark outlines and simplified planes flatten the space, making yellow, red, and cool blue colors do much of the emotional work. Her face is modeled with visible brushstrokes: softly shaded cheeks, a straight nose, and full lips. A small gold earring catches light at one ear. The dress gathers at the chest and sleeves, suggesting weight and heat, yet the background stays abstract. The overall effect is quiet and monumental, inviting us to linger on her expression and on the careful way her hands hold the flower. The sitter’s personal name is not recorded in surviving documentation, but Gauguin did describe her simply as a young "neighbor" who at first refused to pose, then returned later dressed for church, wearing a flower. That detail matters because in 1891 Tahiti was limited by French colonial rule and long shaped by missionary pressure, and the European-style "mission dress" signals imposed norms as much as individual choice. Gauguin’s Tahitian inscription of “woman of the flower” both honors local language and reduces her to an emblem. Viewing the painting today means remembering both truths at once: her undeniable dignity and the people and systems that rendered her identity anonymous.
“Vahine no te Tiare” (Tahitian Woman with a Flower) by Paul Gauguin (French) - Oil on canvas / 1891 - Ny Carlsberg Glyptotek (Copenhagen, Denmark) #WomenInArt #PaulGauguin #Gauguin #NyCarlsbergGlyptotek #PostImpressionism #arte #Tahitian #BlueskyArt #art #artText #Glyptoteket #PortraitofaWoman
Niño con un cocodrilo, 1964. Alexis Preller (1911 - 1975) fue un pintor sudafricano . Se formó en la Escuela de Arte de Westminster, donde se graduó en 1934, y posteriormente en la Académie de la Grande Chaumière de París (1937). Fue especialmente influenciado por Vincent van Gogh y Paul Gauguin
Niño con un #cocodrilo, 1964 #AlexisPreller 1911-1975 #pintor #sudafricano se formó en la Escuela de #Arte de #Westminster donde se graduó en 1934 posteriormente en la Académie de la Grande #Chaumière de #París
Fue especialmente influenciado por Vincent #vanGogh y Paul #Gauguin #museoparticular
My #gauguin attempts. Sometimes things are harder to paint even if they look simple. #art #painting #paintings #folkartist #acrylicpainting #fyp #myart #artwork #genx #60plus #over60club #over60
Paul Gauguin - Where Do We Come From? What Are We? Where Are We Going? (1897 – 1898)
#paul #gauguin #art #painting #post #impressionist #bluesky
