Paul Gauguin: 235 Plates

Nonfiction, Art & Architecture, Art History, European, General Art
Cover of the book Paul Gauguin: 235 Plates by Maria Peitcheva, Maria Peitcheva
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Author: Maria Peitcheva ISBN: 9788892516953
Publisher: Maria Peitcheva Publication: November 12, 2015
Imprint: Language: English
Author: Maria Peitcheva
ISBN: 9788892516953
Publisher: Maria Peitcheva
Publication: November 12, 2015
Imprint:
Language: English

This Art Book with Foreword by Maria Peitcheva contains 235 selected color plates of drawings and paintings from Paul Gauguin.
Eugene-Henri-Paul Gauguin was French painter, sculptor, and printmaker. Gauguin's style developed from Impressionism through a brief cloisonnist phase (in partnership with Emile Bernard) towards a highly personal brand of Symbolism, which sought within the tradition of Pierre Puvis de Chavannes to combine and contrast an idealized vision of primitive Polynesian culture with the sceptical pessimism of an educated European. A selfconsciously outspoken personality and an aggressively asserted position as the leader of the Pont-Aven group made him a dominant figure in Parisian intellectual circles in the late 1880s. His use of non-naturalistic colour and formal distortion for expressive ends was widely influential on early 20th-century avant-garde artists.

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This Art Book with Foreword by Maria Peitcheva contains 235 selected color plates of drawings and paintings from Paul Gauguin.
Eugene-Henri-Paul Gauguin was French painter, sculptor, and printmaker. Gauguin's style developed from Impressionism through a brief cloisonnist phase (in partnership with Emile Bernard) towards a highly personal brand of Symbolism, which sought within the tradition of Pierre Puvis de Chavannes to combine and contrast an idealized vision of primitive Polynesian culture with the sceptical pessimism of an educated European. A selfconsciously outspoken personality and an aggressively asserted position as the leader of the Pont-Aven group made him a dominant figure in Parisian intellectual circles in the late 1880s. His use of non-naturalistic colour and formal distortion for expressive ends was widely influential on early 20th-century avant-garde artists.

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