French 1848-1903 Paul Gauguin Art Locations (born June 7, 1848, Paris, France ?? died May 8, 1903, Atuona, Hiva Oa, Marquesas Islands, French Polynesia) French painter, sculptor, and printmaker. He spent his childhood in Lima (his mother was a Peruvian Creole). From c. 1872 to 1883 he was a successful stockbroker in Paris. He met Camille Pissarro about 1875, and he exhibited several times with the Impressionists. Disillusioned with bourgeois materialism, in 1886 he moved to Pont-Aven, Brittany, where he became the central figure of a group of artists known as the Pont-Aven school. Gauguin coined the term Synthetism to describe his style during this period, referring to the synthesis of his paintings formal elements with the idea or emotion they conveyed. Late in October 1888 Gauguin traveled to Arles, in the south of France, to stay with Vincent van Gogh. The style of the two men work from this period has been classified as Post-Impressionist because it shows an individual, personal development of Impressionism use of colour, brushstroke, and nontraditional subject matter. Increasingly focused on rejecting the materialism of contemporary culture in favour of a more spiritual, unfettered lifestyle, in 1891 he moved to Tahiti. His works became open protests against materialism. He was an influential innovator; Fauvism owed much to his use of colour, and he inspired Pablo Picasso and the development of Cubism.   Related Paintings of Paul Gauguin :. | Woman holding flowers | Brittany Eve | When Will You Marry | Afternoon Rest, Siesta | manen och jorden |
Related Artists:
Giuseppe Dupra
(1703 -1784 ) - Painter
Woolner, Thomas
1825 - 1892,English sculptor and poet. He ranks with John Henry Foley as the leading sculptor of mid-Victorian England. He trained with William Behnes and in 1842 enrolled as a student at the Royal Academy, London. In 1844 he exhibited at Westminster Hall, London, a life-size plaster group, the Death of Boadicea (destr.), in an unsuccessful attempt to obtain sculptural commissions for the Houses of Parliament. His earliest important surviving work is the statuette of Puck (plaster, 1845-7; C. G. Woolner priv. col.), which was admired by William Holman Hunt and helped to secure Woolner's admission in 1848 to the Pre-Raphaelite Brotherhood. The work's Shakespearean theme and lifelike execution, stressing Puck's humorous malice rather than traditional ideal beauty, made it highly appealing. Although eclipsed by Hunt, John Everett Millais and Dante Gabriel Rossetti, Woolner was an important figure in the Brotherhood. He contributed poetry to its journal, The Germ (1850), and his work was committed to truthfulness to nature more consistently than that of any other Pre-Raphaelite, except for Hunt. This is evident in Woolner's monument to William Wordsworth (marble, 1851; St Oswald, Grasmere, Cumbria).
GUARDI, Francesco
Italian Rococo Era Painter, 1712-ca.1793 The records of his parish in Venice show that Francesco Guardi was baptized on Oct. 5, 1712. His father, Domenico, who died when Francesco was 4, had a workshop. Francesco and his elder brother, Gian Antonio, worked in a small studio, carrying out such orders as they could get for almost anything the client wanted:mythological pictures, genre, flower pieces, battle scenes, altarpieces, and even, on rare occasions, frescoes. They did not hesitate to copy compositions by other artists, but what they borrowed they always transformed into something more capricious, less stable, more fragmentary in the refraction of light. Francesco did not emerge as an independent personality until 1760, when his brother died. Then, 48 years old, he married, established his own studio, and devoted himself chiefly to painting views of Venice. For the most part he worked in obscurity, ignored by his contemporaries. He was not even admitted to the Venetian Academy until he was 72 years old. Guardi and Canaletto have always been compared to one another because the buildings they chose to paint were often the same. But the way each artist painted them is very different. Canaletto's world is constructed out of line. It provides solid, carefully drawn, three-dimensional objects that exist within logically constructed three-dimensional space. Guardi's world is constructed out of color and light. The objects in it become weightless in the light's shimmer and dissolve in a welter of brushstrokes; the space, like the forms in space, is suggested rather than described. Canaletto belonged essentially to the Renaissance tradition that began with Giotto and, as it grew progressively tighter and more controlled, pointed the way to neoclassicism. Guardi belonged to the new baroque tradition that grew out of the late style of Titian and, as it became progressively looser and freer, pointed the way toward impressionism. Such differences appear even in Guardi's early view paintings, where he was obviously trying to copy Canaletto, such as the Basin of San Marco. The famous buildings are there, but they are far in the background, insubstantial, seeming to float. In front is a fleet of fishing boats, their curving spars seeming to dance across the surface of the canvas. What is important for Guardi is not perspective but the changing clouds and the way the light falls on the lagoon. Guardi became increasingly fascinated by the water that surrounds Venice. In late works, such as the famous Lagoon with Gondola, buildings and people have been stripped away until there is nothing but the suggestion of a thin line of distant wharfs, a few strokes to indicate one man on a gondola, a long unbroken stretch of still water, and a cloudless sky. Guardi also painted the festivals that so delighted visitors to the city, such as the Marriage of Venice to the Sea. This was a symbolic ceremony in which the doge, in the great gilded galley of the head of state, surrounded by a thousand gondolas, appeared before all Venice, in Goethe's image, "raised up like the Host in a monstrance." Of all Guardi's paintings the most evocative are his caprices, the landscapes born out of his imagination though suggested by the ruined buildings on the lonely islands of the Venetian lagoon. A gentle melancholy clings to such scenes.