Paul Gauguin paintings reached broad success in the late 19th century. It was their bold colors, exaggerated body proportions and stark contrasts that set them apart from the work of the contemporaries of Paul. These paintings were the beginning of the Primitivism art movement. Not having any formal training, Paul Gauguin was a French artist who abandoned artistic conventions and simply followed his vision.
At first, Paul started painting only in his spare time but quickly became serious with his work. An important Paris art show, Salon of 1876, accepted one of his works. The Impressionists invited him to exhibit his work with them in 1879. Finally, the Vision of the Sermon, one of the most famous of boldly colored Paul Gauguin paintings, was completed in 1888.
In 1891, Paul moved to Tahiti and settled among the native people. He combined the native culture with his own to create new, innovative art works. In 1893, he returned to France and showed off some of his Tahitian pieces to mixed responses. He returned to French Polynesia where he created one of the later masterpieces among Paul Gauguin paintings, Where Do We Come From? What Are We? Where Are We Going?, a depiction of the human life cycle.
It was the first major public commission awarded to Tiziano Vecellio that ensured his stature as the leading Venetian painter of his time. Titian paintings are known for their tonal painting approach and their landscape style which was atmospheric at the same time that it was evocative.
It was a celebration of natural beauty blended with love and music that constituted the pastoral landscapes among the Titian paintings. This is very evident in two of Titian's works, Landscape with Goat and Two Satyrs in a Landscape. The latter landscape contrasted the stark beauty of a luscious landscape against mythological figures given a carefully balanced arrangement.
The portraits among the Titian paintings were remarkable for their expression of a psychological dimension to their sitters while at the same time suggesting their eminent status and importance. Psychological dimensions are expressed through the portrayal of melancholia and dreamy moods while status and importance are conveyed through depictions of hand and face sensitivity as well as presence monumentality.
At first, Paul started painting only in his spare time but quickly became serious with his work. An important Paris art show, Salon of 1876, accepted one of his works. The Impressionists invited him to exhibit his work with them in 1879. Finally, the Vision of the Sermon, one of the most famous of boldly colored Paul Gauguin paintings, was completed in 1888.
In 1891, Paul moved to Tahiti and settled among the native people. He combined the native culture with his own to create new, innovative art works. In 1893, he returned to France and showed off some of his Tahitian pieces to mixed responses. He returned to French Polynesia where he created one of the later masterpieces among Paul Gauguin paintings, Where Do We Come From? What Are We? Where Are We Going?, a depiction of the human life cycle.
It was the first major public commission awarded to Tiziano Vecellio that ensured his stature as the leading Venetian painter of his time. Titian paintings are known for their tonal painting approach and their landscape style which was atmospheric at the same time that it was evocative.
It was a celebration of natural beauty blended with love and music that constituted the pastoral landscapes among the Titian paintings. This is very evident in two of Titian's works, Landscape with Goat and Two Satyrs in a Landscape. The latter landscape contrasted the stark beauty of a luscious landscape against mythological figures given a carefully balanced arrangement.
The portraits among the Titian paintings were remarkable for their expression of a psychological dimension to their sitters while at the same time suggesting their eminent status and importance. Psychological dimensions are expressed through the portrayal of melancholia and dreamy moods while status and importance are conveyed through depictions of hand and face sensitivity as well as presence monumentality.
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