Gauguin: More than one disease introduced to natives. One was not his fault but he tried to cure it.

Posted by DanielS on Tuesday, 07 March 2017 17:46.

I may have sold Gauguin short in terms of his ethnographic conscientiousness. I’d been citing him as an example of the “artistic genius” who wasn’t worth it for his moral failing. There is still a good measure of truth to that, but he may not have been quite as heinous and without effort to be considerate as I had thought in terms of concern for what is important to other people - at least those of Tahiti and their culture. My line had been that as an artist he is as satisfying as any to me, nevertheless as a man who infected who knows how many native girls with syphilis, he was a killer. His art, no matter how good, not worth that behavior.

         
                Gauguin in Tahiti: Search for Paradise (1967)

Even so, as I watch this biography, a couple of mitigating facts are revealed. True, he still would have infected at least one native girl with syphilis. However, he married her and apparently did not know that he had the disease when he infected her. Still bad, of course, as there was no effective treatment for the disease even with French civilization settled there.  Add to that his knowledge of the risks of his own promiscuity beforehand along with his ultimate abandonment of his first wife, French wife and kids back in France.

 

 

However, the biography reveals that before he fell ill, he was really concerned to find and help preserve the authentic Tahitian people and culture. With that, he was dismayed by the impact of French civilization and missionaries, how they’d already by his time begun to destroy the native culture. He was particularly bothered by the imposition of Christian schooling upon the native children that had by then caused them to lose their native religion. He would actually go to the children and their parents with a French law book - reading them their rights so that they would know that they did not have to go to the missionary school. Finally, he went so far as to try to recreate their native religious stories in writing and in his paintings…



Comments:


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Posted by VanGo on Mon, 06 Aug 2018 03:22 | #


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Posted by Bonnard on Fri, 24 Aug 2018 18:05 | #


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Posted by James Pradier on Sun, 02 Sep 2018 15:08 | #

All too often it seems that classical European artists depict the female form as rather robust, big, fat, clunky but functional - as captured in the term, “Rubenesque” - a synonym for yecch!

James Pradier didn’t make that mistake:

Satyr and Bacchante James Pradier

....oops, how did these pictures of this woman who is not my girlfriend…

...though she might meet the physical requirements ...accidentally get attached here?

  ....even though I find fishing boring, I might put up with it in this case….

.....even though I think “thongs” look retarded (a camel foot white socks and sandals effect)

                                        ... but I am a forgiving sort.


Luiza Barros

Barros Family History
Barros Name Meaning
Spanish, Galician, and Portuguese: widespread habitational name from any of numerous places named with barro ‘clay’, ‘loam’.

It’s important to note that these stupid reactionary right wingers are inclined to lump the Spanish (or Portuguese) speaking peoples of South America with “non Whites”  and thereby precipitate the loss of beauties like Luiza for our kind as she is considered “one and the same as non-European peoples.”


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Posted by Edmund Leighton on Sun, 28 Oct 2018 18:24 | #

In Time of Peril (1897) is a painting by the English painter Edmund Leighton. #InTimeofPeril

Leighton depicts two young princes, one still a baby wrapped in his mother’s elaborate royal clothing, being spirited away from danger to a protective monastery.

Auckland Art Gallery.


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Posted by the 1930s in color on Sun, 04 Nov 2018 20:29 | #

the 1930s in color


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Posted by Tivadar Csontváry Kosztka on Mon, 31 Dec 2018 14:19 | #


Old Fisherman 1902


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Posted by Robert Koehler on Thu, 13 Jun 2019 12:28 | #


Robert Koehler 1850 - 1917


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Posted by Henri Biva on Fri, 12 Jul 2019 17:22 | #


Matin a Villeneuve, 1905-1906


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Posted by Jean-Baptiste Carpeaux on Sun, 22 Dec 2019 17:54 | #


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Posted by Anders Anderson on Mon, 23 Dec 2019 07:29 | #


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Posted by Edvard Munch on Thu, 30 Jan 2020 19:29 | #

his hand in a self portrait


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Posted by Jan van der Kooi on Tue, 18 Feb 2020 12:16 | #


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Posted by Au fond d’une flaque on Thu, 20 Feb 2020 05:44 | #

Haïku 229 : flaque

L’hiver aime voir

Son ombre sépia danser

Au fond d’une flaque

Photo Marie-Christine Grimard


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Posted by We are all Edward Hopper paintings now on Fri, 20 Mar 2020 05:00 | #

Under Corona Chan, We are all Edward Hopper Paintings Now


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Posted by Vincent on Tue, 31 Mar 2020 12:24 | #

Van Gogh painting stolen from Dutch museum closed by virus

Voice of Europe, 31 March 2020:

THE HAGUE, Netherlands (AP) — A painting by Dutch master Vincent van Gogh was stolen in an overnight smash-and-grab raid on a museum that was closed to prevent the spread of the coronavirus, police and the museum said Monday.

The Singer Laren museum east of Amsterdam said “The Parsonage Garden at Nuenen in Spring 1884” by the Dutch master was taken in the early hours of Monday. By early afternoon, all that could be seen from the outside of the museum was a large white panel covering a smashed door in the building’s glass facade.

Museum General Director Evert van Os said the institution that houses the collection of American couple William and Anna Singer is “angry, shocked, sad” at the theft.


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Posted by mancinblack on Tue, 31 Mar 2020 14:46 | #

Jan Rudolph de Lorm, museum director of the Singer Laren was a little more direct and honest about the theft, telling Dutch news site ONS he was “shocked and incredibly pissed off”.


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Posted by “shocked and incredibly pissed off” on Tue, 31 Mar 2020 15:00 | #

“Shocked and incredibly pissed off” - how’s that for phraeseology: lol

The Scream

1994 Theft

2004 Theft


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Posted by Vuillard on Mon, 06 Apr 2020 05:02 | #

     


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Posted by Guessedworker on Wed, 08 Apr 2020 16:15 | #

What we lost:

Portrait of Sir Thomas Gresham by Antonis Mor, painted between 1560 and 1565.


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Posted by Maurice Denis on Wed, 06 May 2020 12:49 | #

Maurice Denis (French Painter - 1870-1943)


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Posted by Gustave Caillebotte on Wed, 13 May 2020 09:14 | #


Gustave Caillebotte


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Posted by Joey Giardello on Fri, 15 May 2020 06:19 | #


Joey Giardello Statue, Passyunk Ave at 13th/ McKean Sts Philadelphia PA (Nick Philly)

Sculpture by Carl LeVotch

Joey Giardello

Carmine Orlando Tilelli (July 16, 1930 – September 4, 2008) was an American boxer who was the world middleweight champion from 1963 to 1965,[1] and was better known by his professional pseudonym of Joey Giardello.

[...]

Pro career

As a pro, he quickly racked up an 18-0-1 record in his first 19 fights while facing less-than-stellar opposition. He fought just three men who had previously won a fight during that time. It caught up with Tilelli on January 16, 1950, when he was handed his first defeat by Joe DiMartino, a journeyman with a 6-10 record.

After that embarrassment, he began to face better opposition and by 1951, was beating some of the better middleweight boxers on the Philadelphia scene. He continued to do so for years afterward, but was blocked from receiving a shot at the world championship by the underworld figures who controlled the sport at that time.[citation needed] (On June 4, 1954, Los Angeles-based heavyweight boxer Clarence Henry, who was managed by Mafiosi Frank “Blinky” Palermo, was arrested in New York City for attempting to bribe Oakland, California middleweight Bobby Jones to throw his June 11 Madison Square Garden match with Giardello. Henry allegedly offered $15,000 (equivalent to approximately $142,807 in today’s funds[4]) to Jones to throw the fight. Once the third-ranked heavyweight contender, Henry was released after posting $2,000 bail and subsequently retired from the ring. Giardello beat Jones in a close decision.[5])

[...]

...on June 24, 1963, Giardello upset boxing legend Sugar Ray Robinson, and at the age of 33, was finally named as the No. 1 challenger for the world middleweight title.

He wasted no opportunity. On December 7, Giardello faced Dick Tiger in Atlantic City for the title and won, taking the world championship by decision in 15 rounds and drawing with Tiger in two others.

He reigned as world champion for nearly two years, winning four fights during that time. The most notable was a December 14, 1964 title defense against Rubin Carter. He won the fight handily, using a slick jab to keep Carter at bay, despite taking a few solid rights to the head in the early rounds, though Carter was not able to follow them up. By the 5th round, Giardello had taken control of the fight and was awarded a unanimous decision. However, the fight’s depiction in the 1999 film (directed by Norman Jewison; produced by Armyan Bernstein and John Ketcham), The Hurricane has led many non-boxing fans to believe the decision was in some way corrupt or even racist. However, the decision was agreed upon by Boxing experts present at the fight, to the tune of a Giardello victory by a 3-1 margin; a subsequent informal poll of sportswriters present agreed that Giardello had won. Carter himself agreed with the decision.[6] As detailed further down this page, after the release of The Hurricane’’ in 1999, Giardello was awarded damages relating to the inaccurate depiction of him and manner of his win.

Hurricane (Bob Dylan song)

“Hurricane” is a protest song by Bob Dylan co-written with Jacques Levy, about the imprisonment of Rubin “Hurricane” Carter. It compiles acts of racism and profiling against Carter,[1] which Dylan describes as leading to a false trial and conviction.


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Posted by George Bellows on Sun, 17 May 2020 07:55 | #


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Posted by Gustave Caillebotte on Wed, 17 Jun 2020 19:23 | #


Portraits in the Countryside (1876)

Gustave Caillebotte’s works -> https://art-art-art.net/caillebotte/amp/


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Posted by mancinblack on Wed, 17 Jun 2020 22:10 | #

Paintings by Joseph Rodefer DeCamp (5th Nov 1858- 11th Feb 1923)

https://www.youtube.com/watch?v=8Kd_id3JEXE&list=PLR09I5pLvoNL-LF4hn6hkYXUqj6EiM0M1&index=2



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Posted by RALPH CLARKSON on Fri, 19 Jun 2020 07:37 | #


RALPH CLARKSON, Café au lait au frais, c.1892–1894.
@spiros209


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Posted by The Republic on Wed, 24 Jun 2020 00:59 | #


...of Love, Carol Shields


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Posted by Fardynand on Wed, 24 Jun 2020 01:44 | #


Fardynand Ruszcyzyc 1870-1936


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Posted by Reflection on Wed, 24 Jun 2020 04:17 | #


by Yvan Favre


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Posted by ERofez on Wed, 24 Jun 2020 05:01 | #


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Posted by Hugo Duphorn on Wed, 24 Jun 2020 13:12 | #


Hugo Duphorn 1906


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Posted by view in harbor on Wed, 24 Jun 2020 13:34 | #


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Posted by Helix House on Wed, 24 Jun 2020 13:38 | #


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Posted by Fanny Nushka Moreaux on Thu, 25 Jun 2020 17:35 | #


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Posted by Frans Van Holder Lumier on Wed, 01 Jul 2020 07:14 | #


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Posted by Ginevra de’ Benci (1476-1478) on Thu, 02 Jul 2020 08:15 | #


Ginevra de’ Benci (1476-1478)

Leonardo da Vinci’s works -> https://art-art-art.net/da-vinci/amp/

world painting@worldpainting2
The bottom part of the geometrical golden mean that da Vinci used was probably cut off of this painting due to damage. da Vinci sketches of hands have been found which apparently correspond to how the bottom part would have looked.


There are speculations that this sculpture, attributed to Da Vinci’s mentor, was actually sculpted by Da Vinci.


It is also thought to be a depiction of Ginevra de’ Benci


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Posted by Vincent on Fri, 03 Jul 2020 12:51 | #


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Posted by WowaWeewa on Fri, 03 Jul 2020 13:08 | #


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Posted by cafescene on Fri, 03 Jul 2020 13:30 | #


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Posted by Lucas de Elders on Fri, 03 Jul 2020 13:45 | #

Lucas de Elders - Sibylle of Cleves 1526


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Posted by Marcel Dyf on Fri, 03 Jul 2020 13:49 | #

Marcel Dyf - Young Woman with a Post Card 1950


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Posted by Bonnard on Fri, 03 Jul 2020 13:53 | #

     


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Posted by Edvard Munch on Sat, 04 Jul 2020 04:11 | #


@art4eva

Birch Trees with Woman Walking, 1882.
by Edvard Munch (1863-1944)


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Posted by Cotswald Door on Thu, 09 Jul 2020 20:04 | #



Ambleside


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Posted by Stomach on Fri, 10 Jul 2020 09:40 | #


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Posted by Gianlorenzo Bernini on Mon, 13 Jul 2020 13:22 | #

Gian Lorenzo Bernini


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Posted by Jean Giorno Ian Ledward on Mon, 13 Jul 2020 18:53 | #


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Posted by Rembrandt on Thu, 16 Jul 2020 07:35 | #


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Posted by Neat Tree House on Sun, 19 Jul 2020 09:56 | #


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Posted by Gabriel von Max 1870 on Sun, 19 Jul 2020 15:07 | #

By denying the face, von Max is teaching the audience to see the painting as an abstract: even the old masters organized their paintings by an “under painting” which arranged the abstract light and dark forms of the painting.

Abstract painting thus, was more of an incremental change than the radical change that the general public would suspect.


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Posted by Axel Torneman on Sun, 19 Jul 2020 17:15 | #


Absenta


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Posted by Marcel Cristocea on Sun, 19 Jul 2020 17:18 | #


The Mask of Hidden Feelings II


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Posted by Lands of central Europe on Fri, 24 Jul 2020 16:15 | #


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Posted by The Accolade articulated on Sat, 25 Jul 2020 16:10 | #

This is a better articulated image of Edmund Leighton’s “The Accolade” 1901.

The wire mesh and other detail are well differentiated in this version of the image…which is important to the painting’s merit, as Southeby’s describes:

All Art Classics describes Accolade as Leighton’s best-known work and Kara Ross, Director of Operations for the Art Renewal Center, describes it as “the epitome of medieval iconography” and as one of Leighton’s most famous works, which “are among the most widely recognized paintings of the period.” Sotheby’s catalogue describes it as one of “the most memorable” of his medieval subjects. It also notes that among this collection, “the two qualities which can always be found are beautifully meticulous studied detail and a sensitive capturing of humanity”


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Posted by mancinblack on Sat, 25 Jul 2020 17:46 | #

Yes, ‘The Accolade’ is Leighton’s most famous painting but my favourite by him is ‘My Next Door Neighbour’ (1894) as it depicts something most of us would have experienced at least once in our lives.


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Posted by James Tissot on Mon, 27 Jul 2020 07:55 | #


James Tissot 1836-1902 French.


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Posted by The Roots of Van Gogh & Jackson Pollack found on Thu, 30 Jul 2020 12:23 | #

They found the place of Van Gogh’s last painting…

Van Gogh Museum News! Collision symbol Discovery of the place where Van Gogh painted his last masterpiece Tree Roots. Today in Auvers-sur-Oise a ceremony took place to reveal the location. After 130 years, the site can be viewed by the public. Read more: http://vangogh.nl/AZOD50AJXeJ

Van Gogh Museum@vangoghmuseum Jul 28


And in Van Gogh’s last painting, “Roots”, you can see roots of abstract expressionism, viz. Jackson Pollack (who wasn’t Jewish btw).


Jackson Pollack, “Gallaxy” 1947


Restoring Pollack’s “Mural”


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Posted by Benton swirling mentor on Thu, 30 Jul 2020 14:36 | #

...and, believe it or not, Jackson Pollack was a student of Thomas Hart Benton…. I guess that you can also so an influence from Benton’s swirls….


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Posted by women indulging in greenery on Thu, 30 Jul 2020 15:20 | #

LucyWalshTwitter


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Posted by Jean Frederic Bazille on Fri, 31 Jul 2020 17:10 | #

and Maunier


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Posted by Vincent VanNotRothko on Mon, 03 Aug 2020 05:01 | #


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Posted by Coates on Thu, 06 Aug 2020 17:54 | #


James Coates, British


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Posted by Hopper on Mon, 17 Aug 2020 16:29 | #


Chop Suey


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Posted by Wolf on Thu, 20 Aug 2020 22:41 | #


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Posted by From an older post on Gauguin on Fri, 21 Aug 2020 01:22 | #

From an older post on Gauguin (precursor to this post), 1 Sept 2015

       

Guessedworker

On the threshold of the late modern, a search in the primitive for a purity, perhaps an innocence, felt lost from life.

Paul Gauguin, of course, was mixed-race (quarter Peruvian), so some accommodation with the exotic and disaccommodation with La France Profonde may have entered from there.  But if, more generally, one takes the obsession with a novelty (as against originality, ie, of the origin of la profonde) that became increasingly revolutionary as the 20th century advanced, and finally sicked itself up with Paul Duchamp, as a symptom of a deeper sickness in the European body, one would have to conclude that social hierarchy and Christianity were the diseases - the first for its affront to the twin pillars of European psychology, free-living and personal justice, the second for its murderous intent towards natural kinship and identity.

In other words, the shared attributes of Mind and identity are the origins of the profound, and are so in any age.  They are not to be found by Europeans in Martinique or Tahiti, or in the aesthetic violence and absurdity to which art ... a failed course of treatment ... part of the disease itself anyway ... has been reduced today.

DanielS

My reasons for posting this are primarily to display stellar European artistic ability and its versatility at the same time, not only in the stylistic variance of post impressionism and its indulgence in color and form but in subject matter.

It is certainly not a betrayal of Europeans to take a look at another culture and see an opportunity for beauty in that setting. It is not necessarily judgmental, as if to say that it is worse than European culture or better than ours - that we should be ashamed and emulate these people - it is rather a neutral enough report though it does provide some perspective on a way of life for those who might wish to regulate their philosophy of life by ethnographic comparisons.

How much his quarter Peruvian heritage would be Amerindian and how much Spanish or Portuguese, I don’t know. And while the subject matter and his biography may indicate a wish to be free of European constraints, I would not want to deny the connection of his ability as an artist to native European ability: I believe it is both true (European enough) and worth claiming because he was that good an artist.

Inasmuch as it is possible to distinguish the man as a character and Europeanness from degenerate tangents, I would care to emphasize it and have, by making this post.

I will agree, however, that in Gauguin’s case it is dubious to distinguish his character from the equation - particularly if one is inclined to make excuses on the objective merits and inherently European aspects of his work. These are not sufficient excuses. Where he was worth rejecting, and ultimately, perhaps even his art, is in regard of his moral character.

My understanding is that he was not only a pedophile of Polynesian girls but in effect a murderer of them, as he gave them syphilis.

The Polynesians may not have thought that partaking of young girls was a great sin, but as if that wasn’t indulgence enough.. to then infect them?

These caveats in regard to recommending Gauguin aside, he is something to modern art what Kant is to philosophy. He has to be taken into account as a pivotal figure.

Gauguin was an artistic genius.

Anyone who has an opportunity to see one of his retrospectives should by all means do so: you will be stunned by wall-sized paintings of this kind, bringing forth worlds of brilliantly organized color and figures of just the right level of representation.

It is true that Gauguin personified a transitional period. In fact, “the nabis” were primarily influenced by Gauguin.

This painting inspired by Gauguin provided the visual equivalent to a “key note” to the post impressionist movement - the Nabis, (headed by Bonnard), who then, in turn, spawned modern-abstract art.

                       

If you were to say that abstract art is necessarily bad I would not agree. There is good abstract art and there is bad. There are sincere efforts to capture the abstract essences that were being used, for example, in the form of light and dark patterns in the “underpainting” of traditional representational work - sometimes to very beautiful and stunning effect when rendered by itself - and there were Jewish rackets to sell effortless nonsense for millions of dollars which alienated people from the human and natural world at the same time. 

There were decadent things about Gauguin and decadence that could be drawn from him; but it is not necessary to treat him as in all ways alien and promoting alien and decadent values as opposed to providing a neutral enough visual ethnographic report.

Still, while it is not necessary to draw those inferences, I can agree that there is “modernist wailing” in this painting, an apparent yearning to return to simpler, premodern times, which Kumiko might corroborate as being far from innocent, in fact the very dangerous sentiments held dear by Pol Pot.

Having had the misfortune myself of dealing with persons in pursuit of purity (not on the level of Pol Pot but bad enough for my personal fortunes) and not surprisingly finding myself unable to live up to the purity standard, I came to appreciate Oscar Wilde’s observation, “that it is a bad man who admires innocence.”

I came to understand that these people who seek purity and perfection lose sight of the relative gauge which is necessary to apply when judging people and different cultures. We cannot be judged by pure standards and motives..rather, if we are to be moral, fair and reasonable, we must judge “the relatively good person from the relatively bad.”

Gauguin was a fail: he was clearly on the bad side of relatively good or bad.

We’ll also be better prepared, as the most dangerous people will invariably be more dangerous and destructive for having markedly good qualities which have us making excuses for them to our detriment (particularly if we stick to objectivist criteria).


You said:

On the threshold of the late modern, a search in the primitive for a purity, perhaps an innocence, felt lost from life.

Paul Gauguin, of course, was mixed-race (quarter Peruvian), so some accommodation with the exotic and disaccommodation with La France Profonde may have entered from there.  But if, more generally, one takes the obsession with a novelty (as against originality, ie, of the origin of la profonde) that became increasingly revolutionary as the 20th century advanced, and finally sicked itself up with Paul Duchamp, as a symptom of a deeper sickness in the European body, one would have to conclude that social hierarchy and Christianity were the diseases - the first for its affront to the twin pillars of European psychology, free-living and personal justice, the second for its murderous intent towards natural kinship and identity.

In other words, the shared attributes of Mind and identity are the origins of the profound, and are so in any age.  They are not to be found by Europeans in Martinique or Tahiti, or in the aesthetic violence and absurdity to which art ... a failed course of treatment ... part of the disease itself anyway ... has been reduced today.

I can agree more wholeheartedly with the part that I’ve boldened.

Again, while I agree that Gauguin and many of his admirers may have been misguided in looking for something “authentic” of themselves in pursuit of the exotic and they may have wanted psychological/cultural excuses for decadent liberalism, to be free of European strictures and responsibility, those of us better informed in the White Post Modern do not have to treat Gauguin’s island paintings as a prescription but rather ethnographic notes for the purpose of cross cultural comparison.

The alternative is clearly not acceptable: “no, we do not look at this culture and use our native European ability to record a painting of the beauty that we see there.” If we were to obsess and focus on other cultures, people and exotic ways that would be a mistake indeed and incoherent. But post modern coherence is not lineal, it allows, indeed encourages the return to our culture along with occasional integration of furtive perspectives, because that is how it must be.

 
Bonnard: Dining room in the country (South of France)..
...a return to native European culture
..or an expression of never having left.

Soren Renner
I have seen an exhibit of his work and did not find it beautiful at all. In his defense I should admit that at least he did not paint those godawful haystacks like Monet.

DanielS
I’m a little surprised as I experienced the Gauguin retrospective at the Metropolitan Museum of Art, NYC, as one of the best, if not the best, exhibit I’ve ever seen. I was blown away by the color and composition. My sister had the same experience.

But there is room for differing tastes and even if you are a bit cantankerous, I am happy for your contention and your appearance here, as it bespeaks a robustness and care, particularly as it regards what might typically be considered a detail.

DanielS

Demand for innocence hinders utility, enjoyment:

In line with Soren being back (hopefully, he is): We might carry the Oscar Wilde observation a bit further (that it is a bad man who admires innocence), that there is always some utility in our coming together as humans. It has been a bad habit among our peoples to disparage any utility as a part of “love”, rather demanding that it be pure and innocent.

How many amazingly good and important relationships have been blocked, important genetics lost, for the absurd cultural rules invoking unreasonable standards.

How many people come together and find that they like, and even love each other, when they initially came together because it was useful, they served some mutually beneficial purpose to one another.

And isn’t the airy notion of “love”, and all its purity, more often than not a hindrance to our being loving to one another (and warring with others, where and when necessary!), and to taking steps to bringing into reality a better way of life..


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Posted by Amadeo Bocchi on Sat, 22 Aug 2020 09:26 | #


Bianca sitting in the Garden, 1924


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Posted by Leonardo on Tue, 25 Aug 2020 07:12 | #


A spiral Staircase designed by Leonardo Da Vinci in the year 1516. This is at the Chambord Chateau in the Loire Valley in France.


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Posted by Magi Puig on Sun, 30 Aug 2020 20:02 | #


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Posted by Gauguin on Mon, 31 Aug 2020 00:46 | #


Gauguin 1885


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Posted by Gauguin on Mon, 31 Aug 2020 07:11 | #


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Posted by Richard Unterberger on Mon, 31 Aug 2020 07:47 | #


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Posted by Beautiful Countryside on Mon, 31 Aug 2020 17:26 | #


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Posted by Rockwell (Norman, not the other one, lol) on Mon, 31 Aug 2020 17:49 | #

Norman Rockwell biography


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Posted by Handkiss on Tue, 01 Sep 2020 05:18 | #


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Posted by Georges de Feure on Tue, 01 Sep 2020 05:53 | #


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Posted by Norvin's stone cottage, Wales on Tue, 01 Sep 2020 19:55 | #


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Posted by Emilio Sanchez on Tue, 01 Sep 2020 20:13 | #


Enviorns de Tanger, Emilio Sanchez, Spanish.


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Posted by Pietschmann on Mon, 07 Sep 2020 16:01 | #


Romantic Walk 1930


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Posted by Tancrède Synave on Tue, 08 Sep 2020 16:28 | #


At the corner of the Café - evening time c.1929


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Posted by Rada on Wed, 09 Sep 2020 04:34 | #


Rada


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Posted by Miroslav Kraljević on Fri, 11 Sep 2020 19:40 | #

1885 - 1913
Was a Croatian painter, printmaker and sculptor

‘Luxembourg Gardens’, 1912

Nina@a_nina


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Posted by Hyperborean Reflection on Fri, 11 Sep 2020 20:12 | #


Courtesy Norvin


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Posted by Celtic ring @ 400 BC on Fri, 11 Sep 2020 20:19 | #

Courtesy Norvin


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Posted by Isle of Skye on Wed, 16 Sep 2020 05:00 | #


Stone arrangement on the Island of Skye - Courtesy Norvin


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Posted by Ubaldo Oppi on Thu, 17 Sep 2020 07:58 | #


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Posted by Gauguin on Thu, 17 Sep 2020 08:54 | #


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Posted by Bernini detail on Thu, 17 Sep 2020 08:57 | #


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Posted by Medieval Doors on Mon, 21 Sep 2020 21:59 | #



Medieval Doors

Tudor architecture@ArchitectureTud


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Posted by Borga Morzano on Fri, 25 Sep 2020 05:23 | #


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Posted by James C. on Sun, 27 Sep 2020 03:38 | #


A Place of Her Own

James C. Christensen


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Posted by Alphonse Mucha on Mon, 28 Sep 2020 00:02 | #


The Winter Tale 1917


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Posted by Rick Amor on Thu, 15 Oct 2020 03:58 | #

Rick Amor, Australian: Interception by Gravitation


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Posted by More Amor on Thu, 15 Oct 2020 05:50 | #

 



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