About Gauguin 關(guān)于高更
Eugène Henri Paul Gauguin was a leading French Post-Impressionist artist. He was an important figure in the Symbolist movement as a painter, sculptor, print-maker, ceramist, and writer. His bold experimentation with colouring led directly to the Synthetist style of modern art while his expression of the inherent meaning of the subjects in his paintings, under the influence of the cloisonnist style, paved the way to Primitivism and the return to the pastoral. He was also an influential proponent of wood engraving and woodcuts as art forms.
Paul Gauguin was born in Paris, France to journalist Clovis Gauguin and Alina Maria Chazal, daughter of the half-Peruvian proto-socialist leader Flora Tristan, a feminist precursor. In 1851 the family left Paris for Peru, motivated by the political climate of the period. Clovis died on the voyage, leaving three-year old Paul, his mother and sister to fend for themselves. They lived for four years in Lima with Paul's uncle and his family. The imagery of Peru would later influence Gauguin in his art.
Gauguin began painting in his free time. He also visited galleries frequently and purchased work by emerging artists. Gauguin formed a friendship with artist Camille Pissarro, who introduced him to various other artists. As he progressed in his art, Gauguin rented a studio, and showed paintings in Impressionist exhibitions held in 1881 and 1882. Over two summer holidays, he painted with Pissarro and occasionally Paul Cézanne.
Gauguin is considered a Post-Impressionist painter. His bold, colorful and design oriented paintings significantly influenced Modern art. Gauguin's influence on artists and movements in the early 20th century include Vincent van Gogh, Henri Matisse, Pablo Picasso, Georges Braque, André Derain, Fauvism, Cubism and Orphism, among others. Later he influenced Arthur Frank Mathews and the American Arts and Crafts Movement.
他的藝術(shù)觀點(diǎn)受象征主義觀念驅(qū)使,不滿足印象主義繪畫。1897年創(chuàng)作的《我們從哪里來?我們是誰?我們往哪里去?》用夢幻的形式把讀者引入似真非真的時(shí)空延續(xù)之中,就是這方面的典型之作。另一幅作品《兩個塔希提婦女》追求表現(xiàn)的原始性,含有精致的趣味和藝術(shù)魅力。
高更的早期繪畫,帶有實(shí)驗(yàn)性,也很拘謹(jǐn),令人聯(lián)想起在巴比松畫派(Barbizon School)影向下畢沙羅的作品。1880 年代早期,高更將筆觸放松、變寬,賦予畫面顫動的韻律特質(zhì),色彩略見后來發(fā)展的跡象,但仍很拘謹(jǐn)。他把顏色做塊面處理,自由地加重色澤的明亮感:例如以鮮亮的藍(lán)色畫陰影,以紅色畫屋頂,而使之自背景中突出。高更在技法上采用色彩平涂,注重和諧而不強(qiáng)調(diào)對比,《講道以后的幻景》就是這種藝術(shù)處理的代表作。他的繪畫風(fēng)格與印象主義迥然不同,強(qiáng)烈的輪廓線以及用主觀化色彩表現(xiàn)經(jīng)過概括和簡化了的形體,都服從于幾何形圖案,從而取得音樂性、節(jié)奏感和裝飾效果。
Gauguin did join him but with disastrous results.
高更加入了他,卻帶來了災(zāi)難性的后果。
Van Gogh and Gauguin's troubled friendship was legendary.
梵高與高更那極不平靜的友誼是一段傳奇。
The most typical representative of it is Gauguin, of course.
這方面最有代表性的例子當(dāng)然是高更。
Gauguin elected painting as a career when he was in his thirties.
高更在三十歲時(shí)選擇了繪畫作為他的事業(yè)。
We were right enough about the arguments of Gauguin and the others!
對于高更等人的論點(diǎn)我們可是說對了!
Tahitians were caught in bright, daily life through Gauguin's paintbrush.
透過畫筆,高更勾勒出大溪地人蓬勃朝氣的日常生活。
The Sunflowers was intended to impress Gauguin.
這幅《向日葵》目的是給高更留下深刻的印象。
Gauguin envy Van Goghs talent, he slander Van Goghs paintings.
高更嫉妒梵高的才華,污蔑梵高的作品。
In his literary creation of The Moon and Sixpence, Maugham received profound influence of Gauguin and his Tahitian pictures.
毛姆在創(chuàng)作《月亮和六便士》時(shí),深受高更及其在塔希堤時(shí)期所創(chuàng)作的繪畫作品的影響。
Van Gogh and Gauguin forged a deep friendship during the two years they lived and painted as neighbors in Arles, in the south of France.
梵高和高更在法國南部小鎮(zhèn)阿爾勒作鄰居的兩年時(shí)間里,一起生活一起畫畫,結(jié)成了深厚的友誼。
Gauguin and Van Gogh drew everyday, quarreled everyday.
梵高與高更每日作畫、每日爭吵。
In Paris, van Gogh studied with Cormon, inevitably met Gauguin.
在巴黎,梵高與科爾蒙一同學(xué)習(xí),命中注定地遇到了高更。
Mike: You have so many paintings in your room.
麥克:你房間里有好多畫。
Daisy: Yes, I love paintings.
黛西:是的,我喜歡畫。
Mike: Are they from famous painters?
麥克:他們是著名畫家的畫嗎?
Daisy: Some of them are, this is a copy Gauguin.
黛西:有些是,這個是高更的復(fù)制品。
Mike: It's really beautiful.
麥克:的確很漂亮。
Daisy: Yes, Gauguin is one of my favorite painters.
黛西:是的,高更是我最喜歡的畫家之一。
Mike: Who else do you like?
麥克:你還喜歡誰?
Daisy: Van Gogh and Da Vinci.
黛西:梵高和達(dá)·芬奇。
Mike: Luckily, I've heard of both of them.
麥克:幸好這兩個人我都聽過。
Daisy: Van Gogh and Gauguin are good friends.
黛西:梵高和高更是好朋友。
Mike: Really? I thought artists are always alone.
麥克:是嗎?我以為藝術(shù)家都是獨(dú)自一人。
Daisy: This painting is also one of my favorite.
黛西:這幅畫也是最喜歡的畫之一。
Mike: You are really an expert in painting.
麥克:你的確對畫很有研究。
Daisy: No, I just bought those that I found interesting.
黛西:沒有,我只是買些我覺得有意思的畫。
Mike: You have learned something in the same time.
麥克:同時(shí)你也了解了一些。
Daisy: I think so.
黛西:我想也是。