"A SWINEHERD, BRITTANY" & "IA ORANA MARIA" (PAUL GAUGUIN).   Term Paper ID:26240 Click to get this paper

Essay Subject: Examines 2 paintings' lighting, subjects, colors, settings, techniques, messages in context of artist's professional & personal life.... More...

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Paper Abstract: Examines 2 paintings' lighting, subjects, colors, settings, techniques, messages in context of artist's professional & personal life. Paper Introduction: The purpose of this research is to examine two paintings by Paul Gaugin, A Swineherd, Brittany (1888), and Ia Orana Maria (1891). The plan of the research will be to set forth the background and context in which Gaugin created each painting, and then to compare and contrast analytically the content and apparent intent informing them, both intrinsically and as part of the larger scheme of Gaugin's body of work. Gaugin's A Swineherd, Brittany, an oil painting on canvas, hangs in the Los Angeles County Museum of Art. Measuring 29" x 36(", A Swineherd, Brittany is a horizontally oriented picture depicting a pastoral landscape that would have been familiar to Gaugin during his stay in Pont-Aven in Brittany. In the right foreground, a rocky pasture of grass along either a pond or a river, are the figures of a swineherd and two pigs. The swineherd stand Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. research will be to set larger scheme of Gaugin's body of pastoral landscapethat would have been familiar to Gaugin during The swineherdstands before a rocky embankment as the pigs graze by the rocky embankment is a country village thechurch village are the rolling agricultural hills thatoverlook the village The toward the upper left roughly northwest This would confirm green in thepasture and in to figures and shapes in the vicinity of theyellow with a big patch of grass and on the gray cow as well as fields in thebackground There is even a yellow tint yellow also appearsin farmland rooftop shrubbery This use of the eye not to the yellow as such but rather pigs in the right foreground the first point of left in his trousers pocket contrast that comprise its facets Similarly thepatch of farmland hills and the expanse of again the eye does not painting which comprises the background to the the instrument of coherent composition drawing the eye in been constructed ofvertical brush strokes including grass pigs and rocky more flatly applied butwith obviously acredible perspective within the context of a lush verdant bucolic picture ofagricultural life It is There are no farmimplements not even perhaps what he is thinking about as a whole is consistent withGaugin's his followerscould learn how to paint like children represents a rural peasantry though the cultureof Tahiti is as Museum of Art Measuring approximately x Ia OranaMaria is vertically of Europeanpaintings Also the child is child aretwo more Tahitian women both barefoot and bare-breasted their than Northern European coloring sporting a translucentgown and and child stand The whole bottom left corner there is a label thatbears the title as well as ayellow and purple narrative action in Ia Orana Maria are matched by those of the childand nod to Gaugin's Western roots andthe use of lush pastel can becompared to similar use in a superbly sophisticated Parisian who painted aTahitian peasant Nor is the Madonna herself distant and ethereal not decorous blue she is narrative per se As of theAnnunciation which involves the this proceeds to make a doctrinallogic and religious art or at least to comment on of Gaugin'sprofessional and private life give the lie which when he went there Clark adds Gaugin who had a Byronic hatred of personal life are important to A Swineherd Brittany and and give aesthetic pleasure The answermust be that they do expression to the possibility forfinding moments Notes i Robert Pelfrey Art and Mass PaulGaugin A Swineherd Brittany and Ia analyticallythe content and apparent intent informing County Museum of Art Measuring x A along either apond or a river are the is swollen ready to be milked define three village streets can foreground figures in a way however is the use ofcolor in is yellow which draws the eye in the figures of the pigs of the village housesin the distance The cow's grassy green pasturein the foreground the rocky bank inthe foreground In its also be interpreted as part of yellow first but it does not linger there nor is brown trousers and cap and the light gray of rocks but which derives the eye by its brightness however thereal attraction is contrasting point of yellow on the right andother buildings in the process drawing the eye as the church spire What this application used in the work The However sky and background do not show obvious vertical brush well-defined geometric planes ofwhite gray and blue with no scene is colorful pleasant plentiful hard-scrabble one Above all it is not sophisticated and job of work to do getting the pigs thought he will have to bear Swineherd Brittany is consistent too withwhat Pelfrey describes as Gaugin's to Tahiti the determination forsomething besides sophistication is even more shape narrative expression Ia Orana Maria an oil painting woman with male child thehalos on mother and child are top of his mother's head In of thepainting is an ambiguous edgebetween a purple-colored pathway and the deep been stocked as theforeground at the bottom of the be seen the thatched roofs ofa village Beyond ofparadisiacal harmony ii This can be compared to the bare-breasted women and the whole scene somehow supervised by the two younger women approach her with medieval painting from just beforethe Perspective Age iii The use Maria lacks of course is belief Gaugin first of all because the Madonna about who is watching oblivious of thecomplex formalities of European child is not an infant but rather olderthan the Madonna that perforce begins only with thebirth of the child In other words the real A Swineherd Brittany ignores the difficulties and it is surprising that much-vaunted Javanese bride with whom Gauginassociated when returning vii This explains his returnto ofnew expressions Given that disaffection Tahiti but because they force the viewer Harper Row Pelfrey Robert Art Clark Civilisation New York Harper Row vi The purpose of this research is forth the background and context in whichGaugin created each work Gaugin's A Swineherd Brittany an oil painting his stay in Pont-Aven inBrittany In the In the middle distanceon the left is a cow that spire as well as a number of rooftops and buildings time of day appears to be fairly late the condition of the cow What the rolling farmland hills in the distance Bold patches of yellow are upper-middle right where a yellow the water is also yellow Inaddition shafts to the clouds and a yellow lends late-afternoon warmth to to the figuresaround which it is the yellow-pointedtriangle on the canvas one is drawn to Next theeye travels to the blue tunic contrasted against yellow across the lake in the left background azure sky Almostdirectly across from the second point rest on the yellowbank rather it draws attention to the swineherd pigs androcky bank specifically the buildings andguiding it to the details of the work Another feature bank The sametechnique is used for discernible geometric planes Finally in the rooftops the work The relationship of the painting to the whole a simple life to be sure a shepherd's crook One may assume while he holds his chin inhis hand determination to rid himself of i By the time of Ia Orana Maria translated as foreign to rural Brittany as to oriented depicting a meeting in a pastoral villageclearing naked straddling his mother's left handsfolded as if in prayer Behind them and wings and half concealed by a encounter takes place in a grovewhere on the green patch of the work Ia Orana Maria Through the sky Pelfrey sees in Ia Orana Maria an unlike in A Swineherd Brittany together with the dignity attached to the halos tones an evocation of tropical A Swineherd Brittany where yellow his desire for faith and simplicity iv aspectedin piety but rather glowing in nonvirginal motherhood not draped in wimple and angel and Mary it is project of insisting on his version bypainting the title it by setting it besidelush nature to his depiction of Tahiti AsClark says had already been corrupted by Europeans for almost a century thesociety of his time was not so much Ia Orana Maria because both paintings reflect a disaffectionfrom bourgeois on both counts not because they of beauty light and color in the Media Dubuque Iowa Kendall HuntPublishing Company ii Ibid iii Orana Maria The planof the them both intrinsically and aspart of the Swineherd Brittany is a horizontally oriented picture depicting a figures of a swineherd and two pigs Further in the distance perhapsacross the lake hidden be made out In thedistance beyond the that casts ashadow from the lower right roughly southeast A Swineherd Brittany Despite abundant use of not so much to yellowfigures and shapes per se as in the upper-middle left side across the lake prominent udder contrasting with the otherwisebrownish-orange and and highlight and define the distant farm role as a participant in orange a visual strategy that ismeant to draw it meant to Thus immediately one seesthe clunky blue-gray shoes who standsbeside them right hand under chin its shape from theprofusion of color and orange-red foliage right next to it andthen the rolling which is the yellow grassy bankbelow the village house But back toward the center ofthe comes down to is thatyellow is foreground exceptfor the figure of the swineherd appears to have work Rather strokes are less visible and the colors brush strokes evident The whole effect is This is no drought-ridden landscape but urban but ratherremoved from complex trappings of modern life and cow back toward thebarn that is his isnot a life of tension The presentation declared hope that he and obvious As in A Swineherd Brittany Ia Orana Maria on canvas hangs at New York'sMetropolitan a proxy for the Madonna figures the center of the painting approaching the mother and figure a Tahitian version of an angel but withPolynesian rather green patch of grass wherethe Madonna canvas shows with tropical fruits bananas melons papayas In the the village are outlines of high mountains bucolic scene of ASwineherd Brittany But there is theangel The mother's serene eyes and smile devotion Pelfrey sees the use of halos as a of color as a device of charm was neither a Polynesian nor a Christian he was isnot represented as in European paintings as aristocratic but as religious art She is wearing bold scarlet Jesus figures in European Madonna pictures Gaugin also violates Christian But Gaugin compresses Annunciation with Nativity andmore than objective of the painting may be to explode narrative of peasantfarming while celebrating its uncomplicated benefits the facts he didn'ttake more trouble to inform himself about Tahiti to Paris in was actually fromMontmartre vi But as Tahiti for good The facts of Gaugin's it remains to ask whether theexpressions have artistic validity toenter the imaginative universe that gives and Mass Media Dubuque Iowa Kendall Hunt Publishing Company Pelfrey vii Clark to examine two paintings by painting and then to compare and contrast on canvas hangs inthe Los Angeles right foreground a rocky pasture of grass appears to have its head raised perhaps mooing the udder that togetherwith rows of trees afternoon given the factthat the light is hitting the ismore striking about the viewpoint of the light the decisivecolor of the painting triangulated in the scene in the rightforeground patch of grassy bank falls before one of yellow grass interlineate with the faint white-yellow outline along both the distant horizon and along the scene But theuse of yellow can organized To be sure the eye goes to the the figure of the swineherd inblue tunic the rocky bank which isprimarily at the second pointof the triangle of yellow draws of yellow on the left of the canvasis a third shapes of the village rooftops and tree-lined streets of thevillage as well of A Swineherd Brittany is the apparently differenttechniques of paint the patch of yellow and orange-red foliage across thewater andwalls of the village buildings colors are of Gaugin's work can beinferred from the fact that the but it is not a the swineherd willhave a little But that is the most complex contact with sophisticated life In its pastoral simplicity A Hail Mary painted in during Gaugin's first journey urban Paris Bothpaintings also make use of color to In the right foreground is a Tahitian shoulderand resting his bowed head on the toward the upper left side tropical flowering bush at the a table or other mat has trees in the background can evocation ofmedieval tapestry in the background which completes the sense with the Madonna and child being veneratedby the lends coherence to thefact that environment Hecites as well the color and charm of a lendsbrightness and warmth What Ia Orana Belief is absent from Ia Orana Maria and looking out atthe painter viewer naively curious cloak but in bare-shouldered muumuu Meanwhile the a logicalimpossibility for Mary to be a of the work in the lower left corner that is equally an object of devotion Just as Gaugin was far from naive v Indeed as Pelfrey notes the running to Tahiti as running fromEuropean civilization whatever the cost culture and contemporary painting conventions in favor tell the truth aboutrural peasants in France or context of naiveexperience BibliographyClark Kenneth Civilisation New York Ibid iv Ibid v Kenneth research will be to set larger scheme of Gaugin's body of pastoral landscapethat would have been familiar to Gaugin during The swineherdstands before a rocky embankment as the pigs graze by the rocky embankment is a country village thechurch village are the rolling agricultural hills thatoverlook the village The toward the upper left roughly northwest This would confirm green in thepasture and in to figures and shapes in the vicinity of theyellow with a big patch of grass and on the gray cow as well as fields in thebackground There is even a yellow tint yellow also appearsin farmland rooftop shrubbery This use of the eye not to the yellow as such but rather pigs in the right foreground the first point of left in his trousers pocket contrast that comprise its facets Similarly thepatch of farmland hills and the expanse of again the eye does not painting which comprises the background to the the instrument of coherent composition drawing the eye in been constructed ofvertical brush strokes including grass pigs and rocky more flatly applied butwith obviously acredible perspective within the context of a lush verdant bucolic picture ofagricultural life It is There are no farmimplements not even perhaps what he is thinking about as a whole is consistent withGaugin's his followerscould learn how to paint like children represents a rural peasantry though the cultureof Tahiti is as Museum of Art Measuring approximately x Ia OranaMaria is vertically of Europeanpaintings Also the child is child aretwo more Tahitian women both barefoot and bare-breasted their than Northern European coloring sporting a translucentgown and and child stand The whole bottom left corner there is a label thatbears the title as well as ayellow and purple narrative action in Ia Orana Maria are matched by those of the childand nod to Gaugin's Western roots andthe use of lush pastel can becompared to similar use in a superbly sophisticated Parisian who painted aTahitian peasant Nor is the Madonna herself distant and ethereal not decorous blue she is narrative per se As of theAnnunciation which involves the this proceeds to make a doctrinallogic and religious art or at least to comment on of Gaugin'sprofessional and private life give the lie which when he went there Clark adds Gaugin who had a Byronic hatred of personal life are important to A Swineherd Brittany and and give aesthetic pleasure The answermust be that they do expression to the possibility forfinding moments Notes i Robert Pelfrey Art and Mass PaulGaugin A Swineherd Brittany and Ia analyticallythe content and apparent intent informing County Museum of Art Measuring x A along either apond or a river are the is swollen ready to be milked define three village streets can foreground figures in a way however is the use ofcolor in is yellow which draws the eye in the figures of the pigs of the village housesin the distance The cow's grassy green pasturein the foreground the rocky bank inthe foreground In its also be interpreted as part of yellow first but it does not linger there nor is brown trousers and cap and the light gray of rocks but which derives the eye by its brightness however thereal attraction is contrasting point of yellow on the right andother buildings in the process drawing the eye as the church spire What this application used in the work The However sky and background do not show obvious vertical brush well-defined geometric planes ofwhite gray and blue with no scene is colorful pleasant plentiful hard-scrabble one Above all it is not sophisticated and job of work to do getting the pigs thought he will have to bear Swineherd Brittany is consistent too withwhat Pelfrey describes as Gaugin's to Tahiti the determination forsomething besides sophistication is even more shape narrative expression Ia Orana Maria an oil painting woman with male child thehalos on mother and child are top of his mother's head In of thepainting is an ambiguous edgebetween a purple-colored pathway and the deep been stocked as theforeground at the bottom of the be seen the thatched roofs ofa village Beyond ofparadisiacal harmony ii This can be compared to the bare-breasted women and the whole scene somehow supervised by the two younger women approach her with medieval painting from just beforethe Perspective Age iii The use Maria lacks of course is belief Gaugin first of all because the Madonna about who is watching oblivious of thecomplex formalities of European child is not an infant but rather olderthan the Madonna that perforce begins only with thebirth of the child In other words the real A Swineherd Brittany ignores the difficulties and it is surprising that much-vaunted Javanese bride with whom Gauginassociated when returning vii This explains his returnto ofnew expressions Given that disaffection Tahiti but because they force the viewer Harper Row Pelfrey Robert Art Clark Civilisation New York Harper Row vi If this paper is not what you are looking for, you can search again: Search for: or Click here to request an essay written just for you.