Exhibition Gauguin
 

Being on business in London, looked at the Tate Modern gallery of remarkable exhibition of Gauguin (by the way, it ends January 17). I somehow always had the feeling that Gauguin - Tahiti is the only, the rest is not essential to show me just like most of the "dotaityanskogo" period, ie the end of 1880. It is striking that he decided to become a professional artist only in 1882 (previously it was a successful stockbroker), after the financial crisis and the collapse of the exchange.

I decided to give more detailed information on the artist's works, so you can imagine these paintings are more fully and evaluate the work of the exhibition's curators, have drawn her from around the world. Titles of works are exactly in line with the catalog, I translated the English-only except for the name of the museum, which I do not know.
1. Self-portrait. 1888. 45h5, H. M. Van Gogh Museum, Amsterdam
2. Gatherer algae. 1889. 87h123 1. H. m. Falkwang Museum, Essen
3. Christ in the olive garden. 1889. 72.4 h91, 4. H. m. Norton Museum of Art, West Palm Beach
4. Self-portrait. 1889. 79.2 x 51, 3. H. m. National Gallery of Art, Washington (Chester Dale Collection)
5. Breton dancing girls. 1888. 73h92, 7. H. m. National Gallery of Art, Washington (a collection of Paul Mellon family)
6. Breton girl with a spindle. 1889. 116h58. Oil on plaster, Van Gogh Museum, Amsterdam
7. The loss of virginity (La Perte de pucelage). 1890-91. 90.2 h130, 2. H. m. Chrysler Museum of Art, Norfolk, Virginia.
8. Vision after the sermon (Cricket Jacob with the angel). 1888. 73h92. H. m. National Gallery Shptlandii, Edinburgh.
9. Breton Calvary (Jesus Green). 1889. 92h73, 5. H. m. Royal Museum of Fine Arts of Belgium, Brussels
10. Yellow Christ. 1889. 92.1 h73, 3. H. m. Albright-Knox Art Gallery Buffalo, NY
11. Arearea no Varua ino (Words of the devil or inclined Tahitian woman). 1894. 60h98. H. m. Ny Carlsberg Glyptotec, Copenhagen
12. Mahana no Atua (Day of God). 1894. 68.3 h91, 5. H. m. The Art Institute of Chicago (Helen Birch Bartlett Memorial collection)
13. Parahi te Marae (Le reside le Temple \\\\ Here is a temple). 1892. 66h88, 9. H. m. Philadelphia Museum of Art.
14. Bathing. 1889. 34.5 x45. Gouache, watercolor, pastel, and gold on paper pasted on a board. Private collection.
15. Ondine (in waves). 1889. 92.5 h72, 4. Oil on fabric. Cleveland Museum of Art.
16. Te Nave Nave Fenua (Beautiful Country). 1892. 92h73, 5. H. m. Ohara Museum of Art, Okayama.
17. Nafea faa ipoipo (When is the wedding?). 1892. 101.5 h77, 5. H. m. Museum of Art Basel (Rudolf Staechelin collection)
18. Te Faaturuma (Lost in thought a girl). 1891. 91.2 h68, 7. H. m. Vorchestersky Art Museum, Worcester, Massachusetts State
19. Two girls (La Chevelure Eleurice). 1902 /74h64, 5. Private Collection
20. Nude. 1902. 32h22. Pencil on paper. Private Collection

thanks a lot!
friend of mine was last week at the Tate, but regretted pounds Gauguin.
Now we know that pounds its museum-deserved great!

I think that is something (financial crisis) as the time at least to some extent explains his action. We have not so long ago on TV have been very popular narrative of office managers, entirely poshedshih to farmers and businessmen after the crisis.
While I understand that the farmer and the artist - are two big differences, but from the standpoint of risk is unclear what is better (worse). One thing is clear that the man was risky (yet punter).

He served in the Merchant Navy: out to sea as a sailor and was promoted to lieutenant, sailed across the Atlantic on sailing ships, climbed the rigging, hanging over the ocean storm on the huge swaying mast. :)
Then there was the battle corvette Jerome Napoleon, research voyage in the northern seas, the war with Prussia. He has his uncle was. Yes, and spent his childhood in Peru, too, for those times quite an exotic experience, I believe. .

Rebellious nature. By the way, is renowned for being written on NEGRUNTOVANNOM canvas. Were arguments that are not grounded, but probably at least prokleival bone glue. Was in the Pushkin, carefully considered the matter, canvas and padding, and glued, because the fabric fibers sticking out and mix with the paint. Canvas is very rough.
THEOREM acted contrary to the rules of painting and .. well all survived, no Crazing or flaking.