Gauguin, Paul

"Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern

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"Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern
Paul Gauguin , Ezio Bassani , Christian Feest , Sidney Geist , Donald Gordon , Jean Laude , Gail Levin , Jean-Louis Paudrat , Philippe Peltier , Laura Rosenstock , Alan Wilkinson , Evan Maurer , Richard Oldenburg , Jack Flam , Rosalind Krauss , Constantin Brancusi , Jacques Lipchitz , Amadeo Modigliani , Henri Moore , Alberto Giacometti , and Kirk Varnedoe
Manufacturer: The Museum of Modern Art, New York
ProductGroup: Book
Binding: Paperback

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Primitivism and Twentieth-Century Art: A Documentary History
Primitivism and Modern Art (World of Art)
Primitivism in Modern Art (Paperbacks in Art History)
Art Of The Senses
African Art (World of Art)

ASIN: 0870705342
Release Date: 2002-07-02

Book Description

"In 1906 tribal sculpture was ""discovered"" by 20th century artists; these objects had suddenly become relevant because of changes in the nature of modern art itself. These two volumes comprise the first comprehensive scholarly treatment in half a century of the crucial influence of the tribal arts--particularly those of Africa and Oceania--on modern painters and sculptors. In this visually stunning and intellectually provocative work, 19 essays confront complex aesthetic, art-historical, and sociological problems posed by this dramatic chapter in the history of modern art. The main body of the book contains a series of essays on primitivism in the works of Gauguin, the Fauves, Picasso, Brancusi, the German Expressionists, Lipchitz, Modigliani, Klee, Giacometti, Moore, the Surrealists, and the Abstract Expressionists. It concludes with a discussion of primitivist contemporary artists, including those involved in earthworks, shamanism, and ritual-inspired performances."

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Another equisite title to accompany a Fondation Beyeler exhibition!

Expressive!
Paul Gauguin , Markus Bruderlin , Donald Kuspit , Francis Bacon , Georg Baselitz , Max Beckmann , Francesco Clemente , Ernst Ludwig Kirchner , Edvard Munch , Pablo Picasso , Egon Schiele , and Vincent van Gogh
Manufacturer: Hatje Cantz Publishers
ProductGroup: Book
Binding: Hardcover

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ASIN: 3775713034
Release Date: 2003-07-02

Book Description

The quality of expressiveness--an outcry of the human soul against the mechanization of life--runs like a red scar through the entire history of modern art and up to the present day. If expressionism is associated first and foremost with the German contribution to Modernism, evoking the artists associated with Die Brcke (Kirchner, Heckel and Nolde) and Der Blaue Reiter (Marc and Kandinsky), but also the Austrian Schiele and Kokoshka, and the Parisian fauves, it nevertheless goes further. Beginning with the fathers of expressionism, Gauguin, van Gogh and Munch, the most important inspirations for a movement laden with emotions and endowed with the furor of rebellion, the red scar bleeds through the expressive tendencies of the interwar artists (Beckmann, Soutine and Picasso) and the postwar artists (Dubuffet, de Kooning and Bacon), and all the way to neo-expressionism (Baselitz, Lpertz, Lassnig) and 80s neo-fauvism (Clemente, Basquiat and Disler), ending with Louise Bourgeois and Bruce Nauman. In accompanying essays, philosopher and art historian Donald Kuspit sets out to trace the meaning of the term "expressive"; curator Markus Brderlin explores expressionism by looking backwards from neo-expressionism; and numerous short texts round off the exploration by focusing on individual works of art.

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Another equisite title to accompany a Fondation Beyeler exhibition!.......2005-08-16

The color reproductions are excellent, detailed text is easily read without flipping back and forth between pages, the scholarship is fine, and the book makes an excellent addition to current thoughts on expressionism. Plus, Amazon.com's discounts on fine art books are truly important in helping one build a great art library!

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DRAWING from the MODERN

Drawing From The Modern
Andre Breton , Paul Gauguin , Georges Bataille , Jodi Hauptman , Hans Bellmer , Constantin Brancusi , Paul Cezanne , Marc Chagall , Giorgio De Chirico , Robert Delaunay , Andre Derain , Arthur Dove , Alexandra Alexandrovna Exter , Arshile Gorky , Juan Gris , Gustav Klimt , Wilfredo Lam , Filippo Marinetti , and Joan Miro
Manufacturer: The Museum of Modern Art, New York
ProductGroup: Book
Binding: Hardcover

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Vitamin D: New Perspectives in Drawing (Themes)
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Experimental Drawing

ASIN: 0870706632
Release Date: 2004-11-02

Book Description

Many of the key achievements in art of the last 125 years have been worked out on paper. From pictorial investigations that expanded the possibilities of vision to the invention of entirely new kinds of media, drawing has been the perfect laboratory for avant-garde experimentation. Drawing from the Modern traces such groundbreaking innovation through the unparalleled holdings of the drawings collection of The Museum of Modern Art. Drawing has historically been understood as a mark or line on paper--the record of a bodily gesture, an inscription of the action of the hand, an expression of the mind. Since the 1880s, however, artists have sought to interrupt these seemingly unbreakable links between mark, hand, and imagination. Defying long-held definitions of drawing and rejecting traditional materials, modern artists invented a host of practices, altering not only the field of drawing but artmaking in general. Examining masterworks from the Museum's collection of nearly 7,000 works on paper in three chronological volumes beginning in the 1880s and continuing through today, Drawing from the Modern reconsider artists' repudiation of traditional drafting methods, assault on the use of the single sheet of paper, and introduction of new materials. Going to the heart of avant-garde innovation, all three volumes showcase new formal strategies, including collage, abstraction, chance, and the integration of text and image, as well as new subject matter, including the urban experience, the body, and identity. Volume I, presented here, spans the period from 1880 to 1940, and includes work by such artists as Jean Arp, Hans Bellmer, Paul Cazanne, Arshile Gorky, Georgia O'Keeffe, Odilon Redon, and Kurt Schwitters. Volume II, available in Spring 2005, will cover 1940 to 1975, and Volume III, available in Fall 2005, will bring us from 1975 to the present day.

Customer Reviews:

DRAWING from the MODERN.......2006-12-27

DRAWING from the MODERN is the first of a three part series published by MOMA as catalogue to accompany the chronologically arranged exhibitions of their drawing collection; in part, celebration of the seventy fifth anniversary of the founding of the Museum.

This first book looks at the late nineteenth century through the beginning of the twentieth. Care and preservation of these drawings dictate that they are displayed infrequently, paper being a delicate medium, subject to fading, discoloration and brittleness. The publication of this series then allows us to have at hand a history of drawings seldom seen, and a visual education demonstrating how problems of that era both evolved and worked themselves out.

The introduction by Jodi Hauptman is broad and well worth reading. Aside from her entertaining "end of art" stories, she addresses artists and process leading to the dissolution of prevalent notions: relationship of "mark" to "ground", took new form; spatial notions of an orderly page, questioned; the element of chance, explored as process; the ego relationship of an artist to work, dissolving. New imagery happened: collage, abstraction, grids, enhanced emotions, metaphors of feeling, the sublime re-imaged. New subjects explored brutalities of war, notions of "city", identity, the spiritual, and the abstract.

As perhaps with all process of art, the uncertainty of change brought forth much that is new. The 139 plates of drawings both demonstrate and give testimony by leading artists of the time to new era in process. Drawing as subject matter is fascinating. To be expected, the book is well printed. Of course, what is book one without book two and three?

Nancy Gutrich

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The True Iconoclast
Lots of fragments

Gauguin's Intimate Journals
Paul Gauguin
Manufacturer: Dover Publications
ProductGroup: Book
Binding: Paperback

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Noa Noa: The Tahitian Journal (Fine Art Series)
Paul Gauguin: Letters to His Wife and Friends
Gauguin Tahiti
Noa Noa: The Tahiti Journal of Paul Gauguin
Paul Gauguin: An Erotic Life

ASIN: 0486294412

Book Description

Revealing documents, reprinted from rare, limited edition, throw much light on the painter's inner life, his tumultuous relationship with van Gogh, evaluations of Degas, Monet, and other artists; hatred of hypocrisy and sham, life in the Marquesas Islands, much more. 27 full-page illustrations by Gauguin. Preface by Emil Gauguin.

Customer Reviews:

The True Iconoclast.......2005-10-23

It is impossible to read and re-read GAUGUIN'S INTIMATE JOURNALS and not be inspired to jump into the thrills of creativity and rebellion that sparks greatness in artists. Paul Gauguin's life has been well captured in films, in poems, in numerous biographies, in essays - but none of these supply what these extraordinary journals offer: here is the motivation for the fauvist mind and career and art movement Gauguin sprouted.

In these beautifully translated journal entries we learn why Gauguin, a self-taught artist, son of financially secure parents, a businessman able to succeed in the financial world of his era, would leave all of that to first paint in France with the likes of his roommate Vincent Van Gogh and ultimately flee to the Pacific Islands where his unusual and avant-garde painting style set all of the art world into motion to change.

Beginning with the preface by his son Emil Gauguin, these journals are accompanied by full page, full color reproductions of some of this finest paintings, works which take on new life when informed by the accompanying words of the artist. This is a splendid book well worth adding to the art library of everyone. Grady Harp, October 05

Lots of fragments.......2005-04-05

This is a 'journal'. It's not a diary, nothing so organized, and he claims repeatedly that "This is not a book." Instead, it's a sequence of slightly connected thoughts, anecdotes, and aphorisms. Give the book time, though, it develops into something much more revealing in its second half.

Gauguin is known for his abrupt departure from respected commercial and family life into the most primitive world available to him. His son prefaces this book by explaining that the parting of ways was necessary and mutual. This book itself presents a few hints at what drove him out of polite and wealthy society - a distaste for the venal gendarmerie, a contempt for the church, and more.

What I found more interesting, though, was his recollections of rooming with Van Gogh and his first-person narrative of the Impressionist revolution in France. He sweetens any bitterness by describing the Tahitian people, as a society, as a system of mores, and as healthy and beautiful human animals.

There's a slight self-conciousness here. Gauguin seemed to be writing for some imagined reader, and in fact sent these journals to be published. I feel that not nearly enough is said; what's written here does little to describe the personal angel or demon that drove him to the farthest point on the planet. Still, I value the master's words.

I admit that I'm not fond of his art. Still, I acknowledge the place that history has given him, and I feel somewhat more of a person for reading what he chose to write.

//wiredweird

Van Gogh and Gauguin: The Search for Sacred Art

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Sacred cows and eternal weavers....
A Magnificent Achivement, Worthy of Its Subject
best book of the year
When protestant modernist meets secular egotist

Van Gogh and Gauguin: The Search for Sacred Art
Debora Silverman
Manufacturer: Farrar, Straus and Giroux
ProductGroup: Book
Binding: Hardcover

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Van Gogh and Gauguin: The Studio of the South
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ASIN: 0374282439

Book Description

A leading scholar offers fresh insight into one of the key moments in modern art history

During the fall of 1888, Vincent Van Gogh and Paul Gauguin lived and worked together in Provence. There in a yellow house at Arles, they changed the course of modern art. The relationship between the two painters came at a critical point in each of their careers, and began as a plan for a new community of artist-brothers, who would flourish in a harmonious condition of mutual support. While the two painters never achieved the goal of brotherly harmony, they nonetheless found their creativity spurred by association.

Until now, the Arles period has been interpreted in the light of the temperamental differences between the artists, culminating in the famous incident in which Van Gogh cut off part of his left ear lobe to spite Gauguin. In the shadow of the drama, their larger intellectual and theoretical debates at Arles have been neglected. Debora Silverman demonstrates here for the first time the great significance of their religious backgrounds and conflicts, with important new research on Van Gogh and Gauguin's respective Protestant and Catholic origins and formations, and fresh readings of the major pictures of the period. Both artists emerge in startling new ways, as the paintings they produced at Arles are reevaluated in the light of their divergent attempts to create a new sacred art.

Customer Reviews:

Sacred cows and eternal weavers...........2001-11-13

I collect art books and am particularly fond of Vincent Van Gogh, the fabulous Dutch artist of the 19th Century, who is probably the most popular of all artists--EVER (certainly my favorite!!). I have taken several art history courses with Van Gogh as subject, seen all the "Van Gogh" films, etc. I own many books about Van Gogh including a few I picked up in the Netherlands. What could anyone else possibly say about him that I have not already heard? The answer as it turns out is plenty. I had not yet read Debora Silverman's VAN GOGH AND GAUGUIN: THE SEARCH FOR SACRED ART.

Silverman has taken a different tact in writing about the artists Van Gogh and Gauguin--who will linked together through eternity if for no other reason than the episode in Arles with Van Gogh's "earlobe" (not ear). Like many, I have wondered just why these two men behaved so antagonistically towards each other. I have heard about personality conflicts, differing life styles, and mental illness, but somehow these reasons have never resonated with me. The explanation for the Gauguin-Van Gogh conflict according to Silverman was owing to nothing less than their conflicting interpretations of the meaning of life.

Gauguin was raised Roman Catholic and attended a Catholic boys school where he was taught the theology of bearing one's cross and dying to the material world to attain the transcendent good--paradise. Van Gogh came from a humanistic Dutch Reformed background in an era when this church was focused on the need for a consolatary religion in the face of EVOLUTION. Their conflict seems to have been a feud of a particular kind as both men attempted to understand the eternal truths, grapple with the new reality of science, and abandon their relgious upbringings.

While Gauguin's paintings reflect the transcendent as "otherworldly" and point the way for later abstract symbolists such as Picasso, Van Gogh's works are tied to the sacred presence of the eternal in the natural world. In painting after painting, Gauguin flattens the canvas, uses paint sparingly and depicts scenes of misery and suffering, sin and redemption. On the other hand, Van Gogh focuses on the sacred nature of work and rural life--threshing, weaving, milking, and rocking the baby by the fireplace. Where Gauguin creates angels strugging with men and flying cows, Van Gogh paints wheat fields and grape vineyards filled with sowers, thrashers, and harvesters. Where Gauguin sees classical elements such as the three muses and a Greek temple and admires Delacroix, Van Gogh sees bridges, sailboats, looms, and walls, and adores Millet.

During their short time together in Arles, Gauguin sought to influence Van Gogh--to have him paint from memory, flatten surfaces, and introduce overt religious symbolism into his work. Van Gogh did partially adapt some of Gauguin's techniques such as cloisonism (black outlines separating flat patches of color), but while Gauguin continued to tackle the sinful ways of man (and apparently sin quite heavily when he wasn't working) Van Gogh adapted Zenlike techniques reminiscent of Hiroshege and other Japanese artists who saw no boundary between the divine and natural worlds.

Silverman writes beautifully (I read every word..this is a powerful book) and there are hundreds of drop-dead beautiful facsimilies of the works of Gauguin and Van Gogh. I think Silverman favors Van Gogh, and I do too so I was not disappointed (though she covers Gauguin quite well). She spends a great deal of time on style and technique, which I also liked very much. She is not merely pointing out technical differences, however, she is showing how their respective techniques were tied to their philosophical outlooks. Several "sets" of paintings by both men are discussed in detail--Van Gogh's Langlois bridge paintings (all nine are reproduced) and the Berceuse paintings (she who rocks the cradle); as well as Gauguin's repeated use elements such as the women of Brittany, cows, angels, and "the dead."

This is a wonderful book and if you love Van Gogh and want to better understand his painterly ways, you must have it. It will enrich your life.

A Magnificent Achivement, Worthy of Its Subject.......2001-01-11

Although a non-scholar, I have a keen interest in art history and thus was delighted to receive a copy of this book as a holiday gift from my daughter. The subtitle indicates Silverman's thematic objective: To examine "the search for sacred art." She provides her reader with a brilliantly written narrative during which she shares a wealth of information about Van Gogh and Gauguin, of course, in combination with hundreds of illustrations (many in full-color) which are skillfully correlated with the text. Here is how the material is organized:

Part One: Toward Collaboration [two "Self-Portraits"]

Part Two: Peasant Subjects and Sacred Forms [eg Van Gogh's "Sower" and Gauguin's "Vision After the Sermon"]

Part Three: Catholic Idealism and Dutch Reformed Realism

Part Four: Collaboration in Arles

Part Five: Theologies of Art After Arles

Part Six: Modernist Catechism and Sacred Realism

Silverman carefully identifies and then eloquently explores all manner of comparisons and contrasts between the lives and art of Van Gogh and Gauguin within an historical, theological, and anthropological context. Hers is a magnificent achievement.

best book of the year.......2000-11-06

a work of genius and a pleasure to read. this book is essential for any museumgoer and the general reader with any interest in either artist. revealing the mutual respect and support between two very different men, with outstanding illustrations and insightful prose. i cannot remember any art history book so erudite and approachable.

When protestant modernist meets secular egotist.......2000-11-03

"Christ alone -- of all the philosophers, Magi, etc. -- has affirmed, as a principal certainty, eternal life, the infinity of time, the nothingness of death, the necessity and the raison d'etre of serenity and devotion. He lived serenely, as a greater artist than all other artists, despising marble and clay as well as color, working in living flesh. That is to say, this matchless artist, hardly to be conceived of by the obtuse instrument of our modern, nervous, stupefied brains, made neither statues nor pictures nor books; he loudly proclaimed that he made... living men, immortals. This is serious, especially because it is the truth." Vincent van Gogh wrote these words in a long letter to Emile Bernard, his close friend and painter. He wrote them in Arles, where was working particularly hard, at the end of June 1888. The greatest artistic achievements where still before him, as well as unexpected illness and pity death. Debora Silverman exhibits to us another great event of Vincent's life: short and vehement artistic friendship with Paul Gaugain, that inspired Vincent much and may be even more costed. They knew and write each other for some years. They spent together same weeks in Arles working and fiercely discussing many artistic topics. Unexpectedly, in a while of serious depression Vincent decided to punish his comrade. With dark intentions in the mind he even picked up a razor. But his own illness won. Next day Gaugin found him laying unconscious, all in blood, with one ear cut. Silverman asks how possible was this strange and strangely fruitful friendship. She explores complicated cultural and religious background of both the painters. "I was intrigued -- writes in the Introduction -- by how Gauguin may have assimilated from his seminary training certain mental habits and attitudes toward the visual that were profoundly discordant with those I had identified in van Gogh's formative period in his Dutch theological culture, and I suspected that these distinctive mentalities had implications for the form and content of their work". There have been no similar studies up now. Religious life of Vincent van Gogh have been explored only very recently by Tsukasha Kodera (Vincent van Gogh. Christianity versus nature), Katheleen Power Erickson (At Eternity's Gate), Cliff Edwards (Van Gogh and God) and others, but never in relation to the southern France Catholicism, in atmosphere of which Vincent spent his recent years. Catholic background of Gaugin himself is even less known. Their mutual cultural and religious interferences, and their own personal achievements of this field finally received an abundant and complete description grace to Silverman research.

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Gauguin fot the insider
Gauguin: The Artist, Author, Ethnographer, and Promoter
He was a man of amazing talent

Gauguin Tahiti
Paul Gauguin , and Claire FrEches-Thory
Manufacturer: MFA Publications
ProductGroup: Book
Binding: Hardcover

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Noa Noa: The Tahiti Journal of Paul Gauguin
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ASIN: 0878466665
Release Date: 2004-02-02

Book Description

The life of Paul Gauguin is one of the richest and most mythic in the history of Western art. A banker and "Sunday painter," he left behind family and homeland and sailed to the South Seas, seeking a life "in ecstasy, in peace, and for art." Gauguin Tahiti, the first major retrospective of the artist's work in fifteen years, offers an in-depth study of the fabled Polynesian years that have so defined our image of the painter. Alongside essays by leading American and French critics on every aspect of Gauguin's art, from the legendary canvases to his sculptures, ceramics, and innovative graphic works, are discussions of the Polynesian society, culture, and religion that helped shape them; an in-depth biographical narrative of the artist's life, with the many epiphanies, frustrations, and discoveries that make his time in the South Seas one of the most mythologically potent episodes in the history of Western art; and a chronicle of his changing fortunes in the century since his death. At the center of it all is Gauguin's 1897 masterpiece, Where Do We Come From? What Are We? Where Are We Going?, the summation and crowning glory of his mature career, presented with unprecedented depth and authority. Over one hundred years later, Gauguin remains one of the most enigmatic and attractive figures of 19th-century art, the very pivot of modernism, and Gauguin Tahiti finally portrays this crucial period of his life in all its color and drama.

Customer Reviews:

Gauguin fot the insider.......2006-03-09

This book gives a lot of informaton over the Tahiti-period of Gauguin, not only of his paintings but also of his his sculpture and graphic work. It's state of the art, but a bit dull. Beside, if you want to know more about the exoticism in Gauguin's oeuvre or the symbolism in his work I recommend Gauguin's skirt by Stephen Eisenman or Symbolism by Rodolphe Rapetti. On the other hand, if you are interested in the total output of the artist (and not only his paintings), this book is highly recommemded.

Gauguin: The Artist, Author, Ethnographer, and Promoter.......2004-11-26

Most art books give you lots of gorgeous plates and a view from 50,000 feet of the artist's entire life. Gauguin Tahiti was a pleasant and positive exception from that generalization.

The book does contain lots of gorgeous plates, but also shows a tremendous number of sketches and source materials backed with extensive notes on what the author wrote and said. This enables a careful reader to appreciate the development of icons, iconography, themes and cosmology. The number of interesting essays in the book is unexpectedly large: 17 by my count where the usual art book has perhaps 3 or 4. The essays come at Gauguin from slightly different perspectives, helping you to fill in a 360 degree view over time.

Most art books focus on the artist's best known work. I was very pleased to see this book deal thoroughly with Gauguin's relatively little known sculptures, wood carvings, unusual prints and experimentation with materials and processes. To me, that made this book a particularly rich experience.

If the book has a weakness, it's that the authors of the essays cannot quite bring themselves to describe the less attractive parts of Gauguin's life style and personal habits. So you end up with a partially sanitized package. Like so many artists, his ability to communicate visually was marred by a weak ability to relate to others in constructive and supportive ways.

Be prepared to spend time with this book. Each essay builds on insights from earlier ones with lots of cross referencing of images. As a result, your knowledge will build to a level similar to that of taking an MFA course for a semester on Gauguin's Tahitian and South Sea works.

If you read only one art book this year, you would do well to pick this one. This book will also make a wonderful gift for anyone who loves Gauguin's paintings and wants to learn more about his entire oeuvre.

Take a close look!

He was a man of amazing talent.......2004-04-05

Paul Gauguin (1848-1903) is one of 19th Century Europe's most mythic artists. He was a man of amazing talent, eccentric behavior, and controversial conduct. Leaving a career as a banker, Gauguin became obsessed with painting, eventually abandoning his family and sailing to the South Sea islands of Polynesia where he spent out the remainder of his life painting, sculpturing, producing innovative graphic works and unusual ceramics. Enhanced with 260 color and 80 b/w illustrations, Gauguin Tahiti is wonderfully presented, highly recommended, in-depth, 380-page biography of this gifted man's life and work as a European master artist who "went native" in the tropical paradise of Tahiti.

El Paraiso En La Otra Esquina/the Way to Paradise

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¡Qué decepción!
Una gran desilusion
El Paraiso en la otra equina
De lo mejor de Vargas Llosa

El Paraiso En La Otra Esquina/the Way to Paradise
Mario Vargas Llosa
Manufacturer: Punto De Lectura
ProductGroup: Book
Binding: Mass Market Paperback

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Travesuras de la nina mala / Mischiefs of the Bad Girl
La guerra del fin del mundo
La Tentacion De Lo Imposible (Punto de Lectura)
La fiesta del chivo (Punto de Lectura)
Memoria de mis putas tristes

ASIN: 8466313230

Book Description

A century passed between the birth of Flora Tristán and the death of her grandson, the great painter Paul Gauguin. They never met, but both dreamed, each in their own way, with a better world. With this novel we get to know these two great personalities that had similar characteristics: an impressive stubbornness and a bulletproof determination and motivation.

Description in Spanish: Dos vidas: la de Flora Tristán, que pone todos sus esfuerzos en la lucha por los derechos de la mujer y de los obreros, y la de Paul Gauguin, el hombre que descubre su pasión por la pintura y abandona su existencia burguesa para viajar a Tahití en busca de un mundo sin contaminar por las convenciones. Dos concepciones del sexo: la de Flora, que sólo ve en él un instrumento de dominio masculino y la de Gauguin, que lo considera una fuerza vital imprescindible puesta al servicio de su creatividad. ¿Qué tienen en común esas dos vidas? Esto es lo que Vargas Llosa pone de relieve en esta novela: el mundo de utopías que fue el siglo XIX. Un nexo de unión entre dos personajes opuestos que desvelan un deseo común: el de alcanzar un paraíso donde sea posible la felicidad para los seres humanos.

Customer Reviews:

¡Qué decepción!.......2003-09-20

No debe ser fácil ser Vargas Llosa, mal acostumbrando a sus lectores a escribir excelentes novelas, de esas que cada vez que las cerramos nos decimos: "He aquí al mejor escritor de nuestra era"; no, no debe ser fácil porque cuando escribe un libro tedioso como El Paraíso en la otra esquina, la desilución del libro que pudo haber sido y no fue es demasiado grande, quizás porque las expectativas de sus lectores así lo son.
El Paraíso en la otra esquina trata dos historias alternas: la de Paul Gauguin, el pintor que renunció a una cómoda vida burguesa europea para irse a pintar nativas al Pacífico, y la de su abuela Floria Tristán, incorruptible mujer de grandes ideales. Sólo de leer la contraportada se nos hace agua la boca, qué puede fallar en una novela con unos personajes tan apasionantes en la pluma del autor de La Fiesta del Chivo y Lituma en los Andes, para no irnos más atrás a sus obras maestras de juventud; cómo no devorar palabra por palabra lo que debería ser un festín literario... y nos encontramos con una obra plana, repetitiva, tediosa y desigual. Después de dos capítulos la historia de Flora Tristán daba la vuelta sobre sí misma, nos dejaron de importar sus andanzas, queríamos que terminará de una vez para saber sobre su nieto y sus llagas, sus correrías tras las niñas nativas, su orgía con los colores del Pacífico; pero ni siquiera la vida del rebelde Gauguin nos logra apasionar. Para mi esta novela es mucha información, muchos datos, pero poco corazón.

Una gran desilusion.......2003-09-14

Este libro ha sido una gran desilusion. Es dificil relacionarse con los personajes y con sus ambiciones en la vida. Uno siente que nunca los llega a conocer ni a enteder de verdad. A consecuencia de eso, es muy dificil comprender sus actos. El libro carece de profundidad y entrelaza la narracion de las dos vidas (la de Flora y Gaugin) muy superfluamente. Es monotono y sin impacto. EL lector espera que el libro cobre impacto, pero ese momento nunca llega. Me fue muy dificil encontrar la disciplina para terminarlo. Vargas Llosa es uno de los mejores escritores de nuestros tiempos, y despues de haber leido la gran mayoria de sus obras, este libro ha sido una gran desilusion.

El Paraiso en la otra equina.......2003-08-06

This may be the crowning achievement of one of the foremost authors in the Spanish language. Alternating between the impressionist Gauguin and his maternal grandmother, Flora Tristan, the author traces the careers of these legendary 19th century figures. For Gauguin, the paradise was to be found in escaping the constraints of Euro-Christian civilization by fleeing further and further into the primative cultures of the South Seas. His grandmother too chaffed and strained under the constraints of French and Peruvian societies. The former would relegate her to the status of chattel to her husband, the latter offered her refuge as a virtual princess among her father's family who were as near to Peruvean royalty as was possible. Rejecting both, she chose instead to campaign for the liberation women, then the working classes through social political reform. Both characters died struggling, neither achieving the acceptance of their contemporaries; each sanguine in the choices s/he had made.

The writing is brilliant, the story riveting. The work is clearly superior to "La Fiesta del Chivo" that the "New York Times" predicted would gain Vargas a Nobel Prize for Literature.

De lo mejor de Vargas Llosa.......2003-06-07

Es increible como Vargas Llosa te lleva atraves del espacio y el tiempo saltando de parrafo en parrafo y el lector no se pierde nunca! Flora esta en Paris reunida con obreros y un instante despues (10 anhos antes) en Arequipa visitando a su tio Pio, Gauguin esta Tahiti, 50 anhos despues, y en la linea siguiente esta (otros 10 anhos antes)pintando con van Gogh en Arles, y lector ve pasar todo esto frente a si sin confundir una sola idea. El manejo de los tiempos es similar a Pulp Fiction, donde Tarantino te va ofreciendo escenas de la historia en desorden, pero nunca te pierdes.

Adicionalmente, el tema de las historias, el humor, y lo crudo de algunas escenas (tipo el capitulo final de "La fiesta del Chivo") hacen que este libro asuste y encante. En este libro el capitulo final es tambien fenomenal.

Carmen Thyssen-Bornemisza Collection Vol 2
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Carmen Thyssen-Bornemixza Collection Vol 1 & 2

Carmen Thyssen-Bornemisza Collection Vol 2
Paul Gauguin , Camille Pissarro , Thomas Llorens , Georges Braque , Robert Delaunay , Childe Hassam , Winslow Homer , Edward Hopper , Pierre-Auguste Renoir , Paul Signac , Alfred Sisley , Edouard Vuillard , Pierre Bonnard , Edgar Degas , Henri Matisse , Claude Monet , Edvard Munch , and Emil Nolde
Manufacturer: Ediciones el Viso/Fundaci n Colecci n Thyssen-Bornemisza
ProductGroup: Book
Binding: Hardcover

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The Prado Museum

ASIN: 8496233073
Release Date: 2005-03-15

Book Description

The private art collection of Mrs. Carmen Thyssen-Bornemisza is considered one of the most important in the world. The Thyssen-Bornemisza Museum has published these two volumes to accompany the permanent exhibition of the International Collection, which includes 345 works of art by Brueghel, de Hooch, Van Goyen, Canaletto, Fragonard, Constable, Corot, Pissarro, Sisley, Degas, Van Gogh, Monet, Gauguin, Braque, Kandinsky, Nolde, Heckel, Hopper, Picasso, Juan Gris and others. Also included in two the volumes is a selection of works of art from a number of important 19th-century American artists such as Head, Bierstadt, Church, and Bricher. Provided here is a fully documented analysis of the collection, including color illustrations and a summary profile for each work of art, as well as research analyses written by 87 international experts and field specialists. There is an introduction to each chapter written by Javier Arnaldo--the publisher of these volumes, and co-curator at the Thyssen-Bornemisza Museum. Volume 1 focuses on art from the 13th to 19th centuries, while Volume 2 looks at art of the 19th and 20th centuries. Combined, these two books feature 960 pages and some 270 beautifully-reproduced full-color images.

Customer Reviews:

Carmen Thyssen-Bornemixza Collection Vol 1 & 2.......2006-03-09

After seeing the collection in Madrid a study of Vol 1& 2 were rewarding in so far as each work of art (95% plus ) paintings had an essay regarding the work and aspects of the artists life and style. The paintings in the books and collection were perhaps not typical of the artist they are in deed lovely and worth an art lovers time. These are not coffee table books but give one an opportunity to get a good idea of what Western art is. A. Cinelli, M.D.

Noa Noa: The Tahitian Journal (Fine Art Series)

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Excellent translation.
It's actually an experimental novel
A Unique Opportunity
Noa Noa

Noa Noa: The Tahitian Journal (Fine Art Series)
Paul Gauguin
Manufacturer: Dover Publications
ProductGroup: Book
Binding: Paperback

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Gauguin's Intimate Journals
Paul Gauguin: Letters to His Wife and Friends
Paul Gauguin: Images from the South Seas (Pegasus Library)
Gauguin Tahiti
South Sea Tales (Modern Library Classics)

ASIN: 0486248593

Book Description

Impressions from two years in Tahiti. Compelling autobiographical fragment. 24 black-and-white illustrations.

Customer Reviews:

Excellent translation........2005-09-09

Very readable translation. This is not the best edition if you want good reproductions of drawings. But in terms of getting a good text for a good price it's great.

I'm not really going to review the book itself as I assume most people who are here know that this was Gauguin's attempt to put together a what he hoped would be a best selling travelogue that would promote his art. He was hoping to cash in on the success of Pierre Loti's best seller the Marriage of Loti which was set in exotic Tahiti. It never made any money, but this is mostly because of it's idiosyncratic style. But for anyone interested in Gauguin's Tahitian experience it's great. Also check out his intimate journals which came out posthumously and cover also his life before Tahiti.

It's actually an experimental novel.......2002-09-15

Typically considered a journal or memoir, Gauguin's book is in fact an early type of experimental multimedia novel. Thematically, Gauguin burlesques Pierre Loti's "Marriage of Loti", while structurally he interleaves narrative with his own highly-inventive Post-impressionist woodcarvings. It's a fine book: Gauguin could have been a great novelist, if he weren't already busy.

A Unique Opportunity.......2002-01-26

Though you may quarrel with Guaguin tactics or motivations, his art stands alone--brilliant, moving, subtle. It is always intriquing to hear the voice of a master painter and "Noa, Noa," affords that opportunity.

Noa Noa.......1996-07-18

Contemplations visual, intellectual and spiritual. In 1891, French painter Paul Gauguin fled to the island of Tahiti - "a sixty-three days' voyage, sixty-three days of feverish expactancy;" begun as an unofficial visit regarding the imminent death of the island's king Pomare -- and resulting in a profoundly moving sea-change (spirit, observation, happiness). The Tahitian theology, natural history, and especially the progress of his relationships - a gift. This is a good book to read BEFORE embarking on your "desert island" voyage, but beware! Hard to top once you're there on some other island. An exceptional journal, with a graceful translation (it seems) by O. F. Theis from the French. Rated 9 (needs more color plates of paintings! but a lovely, portable paper edition) Other recommended travel/discovery books: Off the Map: Bicycling Across Siberia, by Mark Jenkins. 1993 HarperPerennial pb. Letters from Iceland, by W. H. Auden & Louis MacNeice. 1990 Paragon House pb. Why Come To Slaka? by Malcolm Bradbury. 1991 Penguin Books pb. Travels With Lizbeth (writing/homelessness), by Lars Eighner. The Starship & the Canoe (Freeman Dyson & son George) Bird of Jove (falconry), by David Bruce. 1994 Texas A&M pb. The Earthsea Trilogy, by Ursula K. Le Guin Ishi (anthropology/Native American history), by Theodora Kroeber

Impressions of Light: The French Landscape from Corot to Monet

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Come Visit Beautiful French Landscapes
A spectaculrly beautifully, illustrated art history

Impressions of Light: The French Landscape from Corot to Monet
Paul Gauguin , Karen Haas , Sue Welsh Reed , Fronia Wissman , Camille Pissarro , Anne Havinga , Paul Cezanne , Jean-Baptiste-Camille Corot , Charles-Francois Daubigny , Paul Huet , Jean-Francois Millet , Pierre-Auguste Renoir , Edgar Degas , Claude Monet , Odilon Redon , Vincent van Gogh , George T.M. Shackelford , Fronia E. Wissman , and Karen E. Haas
Manufacturer: MFA Publications
ProductGroup: Book
Binding: Hardcover

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The Barbizon School & the Origins of Impressionism
Impressionist Still Life
The Golden Age of American Impressionism
Paintings in the Musee d'orsay
Pissarro and Pontoise: The Painter in a Landscape

ASIN: 0878466460
Release Date: 2002-09-02

Book Description

This large, lavish journey through the art of the 19th-century French landscape offers a host of masterful works, among them Corot's Forest of Fontainbleau, Millet's End of the Hamlet of Gruchy, Renoir's Rocky Crags at L'Estaque, and Monet's Rue de la Bavolle, Honfleur. As is often the case, however, some of the most wonderful things to see are also the least expected: rare and unusual monotypes by Degas, three states of a softground etching by Pissarro, and numerous works by some of their lesser-known but equally important contemporaries. Unlike previous books on the topic, Impressions of Light presents a unique and stunningly complete group of work that introduces a new level of complexity into the discussion of French landscapes. Rather than considering the landscape as a steady, linear development and the product of a single medium, it takes into account the many crosscurrents and intersecting developments in French art, from the Barbizon school through the post-Impressionist period. In addition, it studies the landscape in a variety of media--painting, prints, and photography--exploring both the individual artists' perceptions and the ways in which they influenced each other. With over 80 paintings and 70 works on paper from the Museum of Fine Arts, Boston's collections, and published to accompany a major exhibition, Impressions of Light encompasses more than 100 years and 56 artists working in a dozen different media. It holds the broadest possible view, yet never loses sight of the extraordinary intricacy that makes the landscape so enduringly appealing.

Customer Reviews:

Come Visit Beautiful French Landscapes.......2003-06-21

The book Impressions of Light by George Shackleford et al is a companion book to an art exhibit of works from Boston's Museum of Fine Art. The paintings are landscapes created by France's greatest nineteenth century painters and photographers. Most of the painters are Impressionists but others schools are represented as well. The book also contains sketches which were part of the exhibit. The sketches, as well as the written commentary which accompanies many of them, allows the reader to better understand the creative process of the painters. The factual information in the book is very extensive and helps the readers see more in the works than normally meets the eye. Perhaps what is most interesting about this book and the collection of paintings and photographs included it is the plethora of lesser known works by these great artists. Readers, especially those who have been fortunate to view the exhibit, will be transported to the settings of these great works and gain a deeper appreciation of these great artists and photographers.

A spectaculrly beautifully, illustrated art history.......2002-11-15

Impressions Of Light: The French Landscape From Corot To Monet is a lavishly, richly, spectaculrly beautifully, illustrated art history showcasing one hundred years of French art and 56 French artists. Included area wealth of rare and unusual monotypes by Degas, three states of a softground etching by Pissarro, and numerous illustrative works by lesser-known by equally significant contemporaries. Of particular interest is the attention paid to intersecting developments in French art from the Barbizon school through post-Impressionism. Enhanced with more than 80 paintings and 70 works on paper drawn from the MFA collections, showcasing the French landscape through painting, prints, and photography, Impressions Of Light deftly explores individual artists' perceptions as well as the manifold ways that influenced each other. Impressions Of Light will prove to be a welcome and much appreciated contribution to Art History collections in general, and 19th Century French landscape art and photography in particular.

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