Западноевропейское искусство от Хогарта до Сальвадора Дали - страница 28
Gauguin renounced the formlessness of Impressionist vision and recommended a return to the «primitive» styles as the only refuge for art. What he sought was immediacy of experience. Gauguin did this in his brilliant Vision After the Sermon or, alternatively, Jacob Wrestling with the Angel, painted in 1888, during his second stay in Brittany. This painting marked Gauguin break with Impressionism to follow his own style. He rejected realism in favour of the imagination, and through his expressionist means he made one of the most influential impacts on Western art. In the background Jacob is depicted wrestling with the angel. This event forms the lesson in the Breton rite for the eighth Sunday aflei Trinity. On the preceding day the blessing of horned beasts took place, followed by wrestling contests and a procession with red banners, and at night fireworks, a bonfire that turned the fields red with its glow, and an angel descending from the church tower. In the foreground Gauguin has shown at the right the head of a priest and next to it praying women in Breton costumes. Although the figures are outlined with the clarity that Gauguin derived from his study of Oriental, medieval, and primitive arts, the contrast between the large foreground heads and the smaller groups in the distance still presupposes Western perspective, and is drawn from theatre subjects developed by Duamier, Degas, and Renoir.
In Oceania Gauguin was influenced only to a limited degree by the art of the natives with whom he lived. He took his flattened style with its emphasis on brilliant colour to the South Seas with him, and fitted into it the people whose folkways and personalities attracted him. The attitudes in which he drew and painted them still derive from Impressionist vision. In The Day of the God, of 1894, a happy nude woman and her two children rest at the water's edge below the towering image of the god in the background. But while the poses are free in the Western tradition, the contours have been restored, as continuous and unbroken as in Egyptian or Archaic Greek Art.
Before his death Gauguin said, «I wanted to establish the right to dare everything… The public owes me nothing, since my pictorial oeuvre is but relatively good; but the painters who today profit from this liberty owe me something.» So indeed they did, especially Matisse, but no more than Cubism and abstract movements owe to the pioneer researches of Cezanne.
Make sure you know how to pronounce thefollowing words:
Paul Gauguin; Duamier; Degas; Breton; Brittany; Oceania; van Gogh; Egypt; Archaic; Marquesas; Tahiti; Peru; Jacob; Martinique; bourgeois; Rimbault.
Vision After the Sermon – «Видение после проповеди»
The Day of the God – «День Бога»
I. Read the text. Make sure you understand it. Mark the following statements true or false.
1. Paul Gauguin began painting as a professional.
2. In 1880 Gauguin devoted his life to business career.
3. Gauguin was convinced that European urban civilisation was incurably ill.
4. Gauguin painted the Vision After the Sermon in 1879.
5. The poses in Gauguin's paintings are as continuous and unbroken as in Egyptian or Archaic Greek Art.
6. Gauguin recommended a return to the Old Masters.
II. How well have you read? Can you answer the following questions?
1. What did Paul Gauguin do early in life? How old was Gauguin when he began painting? What style did Gauguin absorb? Where did he exhibit his works from 1879 to 1886?
2. Why was Gauguin's life nomadic?
3. What did Gauguin renounce and what did he recommend? What did Gauguin seek? What is depicted in the Vision After the Sermon? How did Gauguin outline the figures? What is the subject of this painting? What did Gauguin depict in the background? What did Gauguin show in the foreground at the right? What did it presuppose?
4. What did Gauguin take to the South Seas with him?
5. What is represented in The Day of the God?
6. What did Gauguin say before his death?
III. i. Give Russian equivalents of the following phrases: