Abstract
In this article, the writer provides a discussion of how the art of Virginia Woolf, Paul Gauguin, and W.E.B. DuBois articulates a social critique that resonates in the 21st century. DuBois' Souls of Black Folks, Gaugin's choice of subject matter, Woolf's feminist polemic.

From the Paper
"In 'The Souls of Black Folk' W E B DuBois articulates inconvenient truths that were to become the founding vocabulary of the American civil rights movement. DuBois gives voice to the oppressed but it is perhaps more important that he gives diction and rhetoric to the critique of oppression much in the manner of Dr Kingin. His mechanism in 'The Souls of Black Folk' is to name the pain of slavery and discrimination and his credibility derives from his personal ..."

Tags:Virginia Woolf, DuBois, Paul Gauguin, feminist, WEB DuBois, social justice

Abstract
This paper discusses Paul Gauguin's Tahitian paintings, focusing particularly on his work "Whence Do We Come From? What Are We? Where Are We Going?". The paper explains that Gauguin's Tahitian paintings celebrate the mysteriousness and unique beauty of his new land, but are rarely accurate pictures of Tahitian life. The paper then describes this individual painting, its meaning and comments by art critics. The overall message of the painting, the author concludes, is that every person continues on the path of life, taking turns going through each phase in the eternally rotating life cycle. The paper uses footnotes instead of a bibliography.

From the Paper
"Although Gauguin's painting poses three questions "Whence Do We Come? What Are We? Where Are We Going?", it ultimately asks a single intimate question that has continued to plague mankind: what is our purpose? This is an important aspect of his painting: it asks the questions, rather than answering them. Because of this united meaning behind all three questions, it would be impossible to contemplate one question without somehow touching upon the other two."

Tags:questions, unmodulated color, oppositions life cycle, symbolic

Abstract
This paper performs an in-depth examination of the career of the artist Paul Gauguin. The paper discusses his position both inside and outside of the the Paris art world and the La Belle Epoque movement beginning just prior to the 1890's. The paper continues on to examine Gauguin's period in Arles with Van Gogh and his development. The essay also takes a close look at his fascination with Tahiti, his stays there, his return to Paris, and the development of his artistic and philosophical vision up to the time of his death.

From the Paper
"It was gay Paree just prior to the 1890's. In the heart of the developing Belle Ypoque Paul Gauguin was evolving as an artist, well known to other avant garde artists and writers. He spent an intense nine weeks philosophizing on and creating art with his disturbed friend Vincent Van Gogh in The Yellow House in Arles. Indeed, his planned departure may have inspired the infamous severing of Van Gogh's ear (Gayford 276-277). Theo Van Gogh was marketing Gauguin's paintings. Gertrude Stein was buying them (Hobson, 39, 47, 83). In 1888 Gauguin was not nearly as well known as the pointillist Seurat, but he was gathering a following of young painters who ``were all searching for a new art that did not yet have a name'' (Gayford 11). Gauguin, like these other youthful Belle Ypoque painters went far beyond the Impressionists in their rejection of the academic conventions of painting. Their works did not get exhibited in the Salon of the official art world, but rather in alternative galleries and spaces."

Tags:tahiti, revolutionary, impressionist, sythesism, modern, polynesian

Abstract
This paper describes the similarities in life and artistic works of artists Paul Gaugin and Edgar Degas. First, a brief biography of Gauguin's life is presented, telling of his travels, their influence on his work and his personal style. The paper also discusses the impact of Gaugin on later artistic movements. Next, the paper gives a biographical sketch of Degas and his career as an artist. It describes in detail the various media that Degas used and the forms he created, including painting, sculpture and photography. Additionally, the paper points out that although Degas was referred to as an impressionist, his style differed significantly from this school. The paper concludes by noting Degas' techniques in painting and sculpture.

From the Paper
"Paul Gauguin was born in Paris, but was reared around the globe. He spent parts of his childhood in Lima, Peru, and Orleans, France. Upon reaching adulthood, he became a member of the merchant marine and later the navy, so that travel was a substantial part of his adult life, and, at one time settled in Copenhagen, Denmark. This travel became a critical part of Gauguin's success as an artist, as he is probably best known for the paintings he created depicting life in Tahiti and Polynesia. These paintings are characterized by a bold use of color. In fact, his paintings are believed to have led to the Synthesist style of modern art and primitivism. Gauguin was also known for his use of wood as a medium. He worked in wood engravings and in woodcuts as art forms. These forms cannot be separated from Gauguin's experience in Polynesia and Tahiti, as they reflected folk art forms being used in those areas."

Tags:composition, line, use of light, oil paints, pastels

Abstract
This paper discusses how Post-Impressionist artists were interested in the ideas of Friedrich Nietzsche, particularly in his concept of the Ubermensch, a superman who would be capable through intense struggle of surmounting the lower forces that would limit his ability to achieve. and how the idea that man could evolve beyond his present capacities influenced the relationship of European man to previous cultures and to contemporary but less ?civilized? societies. It explores the ways in which Paul Gauguin applied the Ubermensch concept to his art and to his life and examines parallel motifs in the oeuvres of his contemporaries. It details his life from his birth 1848 through his initial career as a stockbroker and his influence by Impressionist art.

From the Paper
"The most enigmatic of his self-portraits is one of his 1889 ones, his now familiar features reduced almost to a caricature. His powerful body, hawk-like nose, slanted eyes and high cheekbones give him the appearance of a Mongol conqueror, and the gorgeous reds and golds of the paints create an exotic atmosphere. Two apples dangle over his shoulder, and a sinuous serpent meanders across his chest. Over his head, a halo hovers. He is now a Magus, a powerful supernatural being with divine powers - the realization of the full potential of the ubermensch. Inasmuch as he will be dead in 1901, it may well be that his syphilis had progressed by 1889 to an extent that he was delusional. Certainly the ego and the violent personality that had been developing in Tahiti and later in Atuana reached their culmination in a belief in self that seems excessive, even for an artistic personality."

Tags:van, gogh, impressionists, art, modernist, biography

Abstract
This paper, which includes a picture of the painting itself, begins by examining the contents of the painting. It then discusses why the inclusion of this painting in the Dallas Museum "10 Treasures" collection is problematic for several reasons, ranging from the fact that Gauguin is called a representative of European art and that the selection of this particular work of Gauguin was not his best.

From the Paper
"Paul Gaugin was born during the 1848 revolution, and in 1883 (a stockbroker with five children and a wife with whom he had difficulties) met artist Camille Pissarro, one of the central figures in the Impressionist movement. This meeting marks one of the seminal influences in his life, one that took him away from the stockmarket and into the world of art collecting, and thence to collecting. This writer's interest in Gaugin was fired by viewing the recent Van Gogh touring exhibition and gazing at some of the paintings on display and wondering what about them created a desire to pay millions and millions of dollars for such works. In the tape recorded "tour" that went with the exhibit, there was some mention of the relationship between Van Gogh and Gaugin."

Tags:museam, dallas, van, gogh, european, art

From the Paper
"Paul Gauguin painted his "Whence come we? What are we? Whither go we?" during his second stay in Tahiti, and it is a vast work that embodies the themes and images that he made his own based on his trips to Tahiti. This is a massive work which today is found in the Museum of Fine Arts in Boston. It was painted in 1897 during a period of despondency, and the work can be seen as an expression of the inner turmoil experienced by the artist. The painting's underlying sense of mortality is spiritually oriented and can be seen as a statement by the painter of his sense of devotion to nature, to Tahiti, to the people and to the life he lived there. It reflects the artist's mood and in a sense foreshadows his attempted suicide."

From the Paper
"Paul Gauguin: Counter-Impressionist
Pool presents a concise introduction to this remarkable man who would be scorned, labeled and finally vindicated as one of the most provocative and controversial artists of the time (195-202).
Born in Paris, 1848, he lived with his mother, traveling with her to Peru and elsewhere from 1851-1855. On his return to France, he became a sailor at age seventeen, completing voyages to Valparaiso and Rio de Janeiro. By 1871, he was employed as a stockbroker at a Paris firm, commanding an income good enough to permit him to marry a Parisian girl and start a family in 1873. It was his friend, Emile Schuffenecker who first persuaded Gauguin to go painting with him on Sundays; it was to be the first fateful incursions into what would shortly become a consuming pass.."

From the Paper
"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 ..."

Abstract
This paper compares the paintings "Bar at the Folies-Bergere" by Manet to Paul Gauguin's, "Vision after the Sermon." Specifically, the essay considers several points of comparison. These include the comparative positioning of the female form in both works; the odd gaze of Manet's barmaid relative to the engaged gaze of the Breton women in Gauguin's master-work; the strange behavior of the mirror in Manet's work.

From the Paper
"The following paper will compare Manet's, Bar at the Folies-Bergere and Paul Gauguin's, Vision after the Sermon. Specifically, the essay will look at the following things as points of comparison: the comparative positioning of the female form in both works; the odd gaze of Manet's barmaid relative to the engaged gaze (or reverential down-tilted heads) of the Breton women in Gauguin's master-work; the strange behaviour of the mirror in Manet's work and how the divisive branch (or tree trunk, it is hard to say which) of the Gauguin composition serves a somewhat comparable..."

Tags:manet, gauguin, comparison