Gauguin' s Savage Document Work: Understanding As Function (original) (raw)
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Art of Life: Gauguin’s Language of Color and Shape
2011
Where the tree of knowledge stands, there is always Paradise": thus speak the oldest and the youngest serpents. (Nietzsche. Beyond Good and Evil. Aphorisms. 152) Friedrich Nietzsche, the nineteenth century philosopher (1844 -1900), whose works speak of his unyielding search for an art of life, warns of the serpent's promise, a promise that according to Genesis 3 foreshadows tribulations. 1 On the stage of life the promise to know, to know as a subject that actively grasps the world, is an alluring, call, one that permits free spirits to explore and design life as a work of art beyond the confines of the herd. 2 A changing role of the knowing and imagining subject in the nineteenth century enticed philosophers and inspired artists, unleashing their creativeness to explore new modes of writing and painting. Employing imagination to "remodel experience," creating a "second nature out of material supplied by it by actual nature" emerges as the trademark of the artist, often called a genius (Kant, 1978, XLVI)." Yet as Nietzsche warns, knowledge's promise to find Paradise is whispered by serpents. This article will follow the French artist Paul Gauguin in his pursuit of knowledge in a number of his paintings. It is argued that this search for the tree of knowledge, while holding the promise of Paradise, is paved with questions, uncertainties, and visions about human existence explored by Gauguin in a unique language of colorful paintings and artworks.
Art of Communication Paul Gauguin -An Interpretative Chameleon
iJournals: International Journal of Social Relevance & Concern (IJSRC) ISSN-2347-9698, 2021
This paper has focused on the qualitative dimension of communication. Its substance, content and context that anchor the message in its intended purpose. The study reflects the topic of the dissertation "Use of ambivalence factfiction in media," which is primarily focused on distinguishing between true and false information in the media. Within the twentieth century we had begun to differentiate an increasing number of communication models. By various analogy we try to understand the transmission of information from the speaker to audience and their interaction. The models are primarily intended for reproduction features and relations to create the generally applicable rules. The qualitative aspect of communication, the inner probe into character and motives of individuals stands behind. Therefore is the basis of this paper work built on the verbal and artistic expression of the unique artist, an ingenious strategist, who had been got almost no understanding throughout his life, but over the time his legacy formed the base of genesis various art styles. The focus of the research material is based on work of Eugene Henri Paul Gauguin. Paul Gauguin's interpretive language is distinctive and specific in its symbolism, but it simultaneously represents the communication of any of us. It manifests the contrast between intrapersonal and interpersonal communication. The study of Gauguin's language raises and develops questions on internal dialogue. The focus of the research material is based on work of Paul Gauguin, the collection of his memories The Intimate Journals, and the personal correspondence with Vincent Van Gogh, Emile Bernard and others. The interpretation of symbols, their incorporation into communication and further use is not just a matter of aesthetics or semiotics, the interest goes beyond the art scene.
'Paul Gauguin and the complexity of the primitivist gaze'
'Paul Gauguin and the complexity of the primitivist gaze', as appeared in Journal of Art Historiography (12: Jun15: The European scholarly reception of ‘primitive art’ in the decades around 1900: guest edited by Wilfried Van Damme and Raymond Corbey) Ruud Welten
"Some Things Bear Fruit"? Witnessing the Bonds between Van Gogh and Gauguin
The Art Bulletin, 2002
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The topic of this thesis is, broadly, the crisis of postmodernity and the solution that French rhetorician, Michel Meyer, presents in his theory “problematology.” Meyer looks to relocate the focus of philosophical attention on the question as opposed to the answer. Meyer calls preoccupation with answers “propositionalism.” Propositionalism can be likened to the looming scientism that threatens philosophy in general. Meyer shows, through an examination of questioning, how philosophy can be rescued from obsolescence without being detracted to scientism. Although Meyer’s philosophy is promising, it could not be considered thorough if it did not address art. Using Gilles Deleuze and Felix Guattari’s definition of art as externalized experience, this thesis will explore whether or not Meyer has examined the important relationship between art and philosophy. Through analysis of his three main books in English along with multiple essays, this thesis shows that, although Meyer did not examine art to a great extent, his philosophy contains underlying themes that correspond to the art world. If Meyer’s philosophy is shown to be thorough enough in every respect, it could serve as a new starting point for thought. Meyer’s philosophy has the potential to pioneer a new paradigm of thought that has not been previously explored.