Word: gauguins
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...right that this show should be held in London, since the word post-impressionism was invented there, and applied to the painting of the 1880s by Roger Fry, the English art critic, when he organized a sensationally vilified show of Manet, Van Gogh, Gauguin, Seurat, Cézanne and others at the Grafton Galleries in 1910. By then the painters that Fry's exhibition encircled were all dead, and his name for them was a last resort: he toyed with calling them "expressionists," luckily decided not to, and at last exclaimed, "Oh, let's just call them postimpressionists; at any rate...
...Academy show, a team of scholars working under Art Historian Alan Bowness, have treated the period in an even vaguer way than Fry. There were retrograde as well as advanced currents in 1880s art, and many artists recoiled from impressionism, or were indifferent to it, instead of trying like Gauguin or Van Gogh to push beyond it. They are represented too, to the confusion of the term: if post-impressionism means not only Van Gogh's Arlesian canvases, in all their lambent color and twisting, linear energies, but also the eclectic products of a tonal impressionist like Jules Bastien-Lepage...
...show, a fight between the artist Paul Gauguin and Van Gogh prompts Van Gogh to slice off his ear, not sorrow over a unsuccessful love affair, another popular myth...
...energies of this art sprang full-formed from the head of the Revolution. Moscow, before 1917, was one of the chief condensers of advanced cultural ideas-thanks not only to the artists themselves, but to bourgeois Maecenases like Sergei Shchukin and Ivan Morosov, whose enthusiasm for modern French art (Gauguin, Matisse, Picasso, in particular) is still evident in the great public collections of Moscow and Leningrad. There was a steady traffic of ideas, paintings and of the artists themselves between Russia, France and Italy...
...bookkeeping was vague, his meanness unpleasant-it was Vollard who kept Gauguin on short rations in Tahiti-and his narcissism immense. "The most beautiful woman who ever lived," said Picasso, "never had her portrait painted, drawn or engraved more often than Vollard-by Cézanne, Renoir, Roussel, Bonnard, Forain, almost everybody in fact. He had the vanity of a woman, that man." But he also had an exquisitely tuned eye and a great deal of patience; the combination enabled Vollard, as publisher, to master the innumerable problems involved in producing major collaborations between artist and text...