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The Art of Paul Gauguin. National Gallery of Art PDF

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To the memory of Merete Bodelsen The Art of Paul Gauguin Richard Brettell Françoise Cachin Claire Frèches-Thory Charles F. Stuckey with assistance from Peter Zegers National Gallery of Art, Washington The Art Institute of Chicago This exhibition is made possible by AT&T An indemnity for this exhibition has been Designed by Michael Glass Design, Inc., granted by the Federal Council on the Arts Chicago and the Humanities. Printed by Eastern Press, New Haven, Connecticut, on Warren Lustro Offset Enamel Dull Exhibition dates: Typeset by AnzoGraphics Computer National Gallery of Art, Washington Typographers, Chicago, in Basilia Haas 1 May -31 July 1988 The Art Institute of Chicago Cover: cat 143, Vahine no te vi (detail), 1892, 17 September -11 December 1988 The Baltimore Museum of Art, The Cone Collection, formed by Dr. Claribel Cone and Grand Palais, Paris Miss Etta Cone of Baltimore, Maryland 10 January - 20 April 1989 Frontispiece: cat. 24, Vase Decora tedwith Breton Scenes, winter 1886-1887, Musées Royaux d'Art et d'Histoire, Brussels Second printing The hardcover edition of this book is published Copyright ©1988. Board of Trustees, National and distributed by New York Graphic Society Gallon' of Art. All rights reserved. This book Books. may not be reproduced, in whole or in part, in any form (beyond that copying permitted by New York Graphic Society Books are published Sections 107 and 108 of the U.S. Copyright Law by Little, Brown and Company (Inc.). and except by reviewers for the public press), Published simultaneously in Canada by Little, without written permission from the pub- Brown & Company (Canada) Limited. lishers Library of Congress Cataloging-in-Publication lliis book was produced by the editors office, Data National Gallery of Art The Art of Paul Gauguin. Editor-in-chief, Frances P. Smyth Catalog of an exhibition organized by the Senior editor, Mary Yakush National Gallery of Art. Editors, Barbara Anderman and Bibliography: p. Jane Sweeney Includes index. 1. Gauguin, Paul 1848-1903—Exhibitions. Translations by Anthony Roberts, assisted by I. Brettell, Richard, R. II. National Gallery of Tilomas Bowie, Pamela Kaleugher, Mimi Art (U.S.) Kramer, Michèle Morris, Valerie Morris, N6853.G34A4 1988 709'.2'4 88-5232 Deborah Goodman, Gloria Groom, and ISBN 0-89468-112-5 softcover Maria Prather ISBN 0-8212-1723-2 hardcover Library of Congress Number 88-81005 (hardcover) Contents vi Lenders to the Exhibition VIII Directors' Foreword X Acknowledgments XIII Note to the Reader XV Gauguin Portrayed by Himself FRANÇOISE CACHIN and by Others 2 Chronology: June 1848 - June 1886 ISABELLE CAHN 11 The Impressionist Years CHARLES F. STUCKEY 18 Catalogue Numbers 1-16 WITH PETER ZEGERS 44 Chronology: July 1886 - April 1891 ISABELLE CAHN 52 Brittany - The Ceramics - Martinique CLAIRE FRÈCHES-THORY 62 Catalogue Numbers 17-117 205 Chronology: April 1891 - July 1893 GLORIA GROOM 210 The First Tahitian Years CHARLES F. STUCKEY 218 Catalogue Numbers 118-158 WITH PETER ZEGERS 291 Chronology: August 1893 - June 1895 GLORIA GROOM 297 The Return to France RICHARD BRETTELL 304 Catalogue Numbers 159-214 WITH PETER ZEGERS 379 Chronology: July 1895 - November 1903 GLORIA GROOM 389 The Final Years: Tahiti and Hivaoa RICHARD BRETTELL 398 Catalogue Numbers 215-280 WITH PETER ZEGERS 495 Bibliography MARLA PRATHER 508 List of Exhibitions 513 Writings by Paul Gauguin 515 Index of Titles Lenders to the Exhibition Aargauer Kunsthaus, Aarau Albright-Knox Art Gallery, Buffalo Walter H. Annenberg Art Gallery of Ontario, Toronto The Art Institute of Chicago Monsieur Jean-Pierre Bacou Mile Roseline Bacou The Baltimore Museum of Art Anne Desloge Bates Bayerische Staatsgemàldesammlungen, Neue Pinakothek, Munich Annick and Pierre Berès Collection Mr. and Mrs. Philip Berman Bibliothèque dArt et dArchéologie (Fondation Jacques Doucet), Paris Bibliothèque Nationale, Paris Edward McCormick Blair The Trustees of the British Museum, London British Rail Pension Fund Collection, London The Brooklyn Museum Foundation E. G. Biihrle Collection, Zurich Carrick Hill Collection, South Australia The Chrysler Museum, Norfolk, Virginia Sterling and Francine Clark Art Institute, Williamstown, Massachusetts The Cleveland Museum of Art Courtauld Institute Galleries (Courtauld Collection), London Dallas Museum of Art Des Moines Art Center Mrs. Robert B. Eichholz Mr. and Mrs. Marshall Field Collection Fujikawa Gallery, Tokyo Dr. and Mrs. Martin L. Gecht Graphische Sammlung Albertina, Vienna Hamburger Kunsthalle Marcia Riklis Hirschfeld Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington Indianapolis Museum of Art The Israel Museum, Jerusalem VI Josefowitz Collection National Gallery of Art, Washington The Cynthia Warrick Keniper Trust National Gallery of Canada, Ottawa/Musée des Beaux- Mr. and Mrs. David Lloyd Kreeger Arts du Canada, Ottawa Kunsthaus Zurich, Vereinigung Zurcher Kunstfreunde The National Museum of Western Art, Tokyo Laing Art Gallery, Newcastle Upon Tyne, Tyne and Wear The Nelson-Atkins Museum of Art, Kansas City, Missouri Museums Service Norton Gallery of Art, West Palm Beach, Florida Mr. and Mrs. Bernard Lande Ny Carlsberg Glyptotek, Copenhagen Private collection of Joshua I. Latner Oeffentliche Kunstsammlung Basel, Kupferstichkabinett Courtesy of the Lefevre Gallery, London Ohara Museum of Art, Kurashiki, Japan Monsieur Marcel Lejeune The Ordrupgaard Collection, Copenhagen Mahmoud Khalil Museum, Cairo William S. Paley Marion Koogler McNay Art Museum, San Antonio, Texas Henry and Rose Pearlman Foundation, Inc. Neil A. McConnell Philadelphia Museum of Art Mr. and Mrs. Paul Mellon The Phillips Collection, Washington The Metropolitan Museum of Art, New York The Phillips Family Collection Musée des Arts Africains et Océaniens, Paris Dr. Ivo Pitanguy Musée des Arts Décoratifs, Paris Private collections Musée des Beaux-Arts, Lyon Pushkin State Museum of Fine Arts, Moscow Musée des Beaux-Arts, Orléans Mr. and Mrs. Alexander E. Racolin Musée Gauguin, Tahiti Rijksmuseum Vincent van Gogh (Vincent van Gogh Musée de Grenoble Foundation), Amsterdam Musée Léon Dierx, Saint-Denis Mrs. Arthur M. Sackler Musée du Louvre, Département des Arts Graphiques, The Saint Louis Art Museum Paris Mrs. Francisca Santos Musée d'Orsay, Paris Mr. and Mrs. Herbert D. Schimmel Musée du Petit Palais, Geneva Dr. h. c. Max Schmidheiny Musée du Petit Palais, Paris Lucille Ellis Simon Musée Saint-Denis Sam Spiegel Collection Musées Royaux dArt et d'Histoire, Brussels Staatsgalerie Stuttgart Museo Nacional de Bellas Artes, Buenos Aires Rudolf Staechelin Family Foundation Museu de Arte de Sao Paulo State Hermitage Museum, Leningrad Museum of Decorative Art, Copenhagen Mr. and Mrs. Eugene Victor Thaw Museum of Fine Arts, Boston The Toledo Museum of Art The Museum of Fine Arts, Houston Fondation Dina Vierny, Paris Museum Folkwang, Essen Uno Wallman The Museum of Modern Art, New York Wallraf-Richartz-Museum, Cologne Národní galerie v Praze, Prague Mr. and Mrs. Edward M. M. Warburg Nasjonalgalleriet, Oslo John C. Whitehead Nassau County Museum (Museum Services Division, The Whitworth Art Gallery, University of Manchester, Department of Recreationand Parks), Syosset England The National Galleries of Scotland, Edinburgh Worcester Art Museum, Massachusetts VII Directors' Foreword Five years ago, there were at least three separate exhibitions devoted to Paul Gauguin in the planning stages. The Art Institute of Chicago was discussing a definitive exhibition of the prints of Paul Gauguin; the Musée d'Orsay had launched a major investigation to result in an exhibition of the Pont-Aven school, an exhibition to be dominated by the work created by Gauguin in Brittany; and the National Gallery of Art, while planning a focused Gauguin retrospective, had come across other plans for an exhibition of Gauguin's Tahiti works. When these diverse and virtually simultaneous projects were discussed, it was resolved to suspend all previous plans and to join forces in creating The Art of Paul Gauguin. The aim of this new exhibition was to study the \vhole of Gauguin's oeuvre, in all media, and to address his actual working methods, rather than to dwell on the often discussed symbolism of his most famous works. We have been fortunate to have had the generous support of AT&T since 1986, and we are pleased that, in France, the exhibition is supported by AT&T's close corporate ally, Olivetti. The resulting exhibition is a collaboration among three museums whose combined collections of that artist's work, as the nucleus of the show7, are already comprehensive. From the select and important masterpieces of painting and sculpture in the National Gallery, Washington, to the rich holdings of prints and drawings at The Art Institute of Chicago, to the immense, almost encyclopedic reserves of the Musée d'Orsay, all aspects of Gauguin's oeuvre are represented in abundance. Our conservators and curators have examined the paintings in the three collections using all the techniques available to the modern scientist. Con- servators, students, and teachers at the Art Institute have worked to "recreate" certain of the puzzling transfer drawings by Gauguin so that his idiosyncratic techniques can be understood by example. All three institutions' libraries and documentation centers have assembled rare books, articles, archival material, photographs, and manuscripts to provide a sound scholarly basis for our observa- tions. Building on this foundation, our exhibition's curators have traveled throughout the world to examine Gauguin's works and have, in so doing, attempted to rethink the canon of often-reproduced paintings so familiar to students of modern art. Although they have made every effort to search out important paint- ings, they have not neglected the poi bowls, ornamental ceramic vessels, door- frames, printed pieces of tissue paper, transfer watercolors, irregularly shaped drawings, or manuscript drafts of texts. As a result, The Art of Paul Gauguin celebrates an artistic achievement of considerable complexity. There is another motivation behind the title. We have chosen "the art" not merely in preference to "the painting" of Paul Gauguin, but also to underscore our opposition to an exhibition centering on the artist's life. Although the catalogue contains a thoroughly documented chronology, the exhibition stresses his produc- tion as an artist rather than the exotic, troubled, and fascinating life that has attained almost mythological proportions and is better left to biography and film. The ultimate aim of the exhibition is to inaugurate a new era in the public and scholarly appreciation of Gauguin's art. Many of the works of art included have been reinterpreted, redated, and retitled. Each of the authors has sought not only to summarize the existing literature, but also to reassess the object and its VIII context. In many cases, new questions are raised, the answers for which will come only in the future. The exhibition has been made possible by a combination of private and public support. At AT&T, we would like in particular to thank Marilyn Laurie, senior vice president, public relations; R. Z. Manna, corporate advertising man- ager; and Jacquelyn R. Byrne, district manager, corporate advertising. At Olivetti, the help of Paolo Viti is warmly appreciated. For the support of the documentary film that accompanies the exhibition, we are grateful again to AT&T, and to the Florence Gould Foundation. An indemnity granted by the Federal Council on the Arts and the Humanities represents a major contribution from the public sector. Our other collaborators and colleagues are so numerous that we have given them a separate section of acknowledgments. The lion's share of credit for the exhibition must go to the curators of our three institutions who have put it together: Françoise Cachin and Claire Frèches-Thory in Paris; Richard Brettell in Chicago, now director of the Dallas Museum of Art; and Charles F. Stuckey in Washington, and more recently in Chicago, have selected the objects and have been responsible for writing the catalogue. It is, of course, to our lenders, listed on pages VI-VII, to whom we owe our deepest gratitude. In particular we would like to thank our sister institutions in the Soviet Union, the State Hermitage Museum in Leningrad and the Pushkin State Museum of Fine Arts in Moscow. It has long been known that the Soviet collections of Gauguin's paintings are the greatest in the world, yet no major exhibition since 1906 of Gauguin's work has included a single painting from these collections. It is, therefore, with immense gratitude that we thank our Soviet col- leagues for their generous loans, without which The Art of Paul Gauguin would scarcely have been conceivable. We are happy to think that they too will be celebrating the work of Gauguin after this exhibition concludes. J. Carter Brown National Gallery of Art, Washington James N. Wood The Art Institute of Chicago Olivier Chevrillon Musées de France IX

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Richard Brettell, Françoise Cachin, Claire Frèches-Thory, and Charles F. Stuckey, with assistance from Peter Zegers.Wachington: National Gallery of Art, 1988 – 546 p.[Гоген, Поль]This catalog accompanied a collaborative exhibition from three museums whose combined collections of Paul Ga
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