¿Qué hay de nuevo?, 1892. Paul Gauguin.
Dos mujeres maoris descansando en la entrada de su cabaña.
Gauguin cuando llega a Tahiti, descubre que el paraíso que buscaba no existía y decide imaginárselo. Recupera los ritos tahitianos que la cristianización había erradicado.
Fue un hombre atormentado, insatisfecho, radical y antitodo tuvo problemas con la justicia tanto en Francia (de la que huyó) como en Tahiti. Murió poco antes de tener que ingresar en la carcel por denunciar el trato de los colonos hacia los nativos. Incluso intentó convencer a las familias de que no llevaran a sus hijos al colegio para evitar que recibieran una educación francesa.
Exposición: "Gauguin y el viaje a lo exótico". Museo Thyssen-Bornemisza, Madrid.
La exposición aborda tres cuestiones que van encadenándose e interrelacionándose.
La primera, y fundamental, es la figura de Paul Gauguin, cuya huida a Tahití, donde reconquistó el primitivismo por la vía del exotismo, funciona como hilo conductor de todo el recorrido. Sus pinturas icónicas, creadas a través del filtro de Polinesia, no sólo se han convertido en las imágenes más seductoras del arte moderno sino que además ejercieron una influencia esencial en los movimientos artísticos de las primeras décadas del siglo xx, como el fauvismo francés y el expresionismo alemán.
La segunda trata del viaje, el viaje como escape de la civilización, que servirá de impulso renovador a la vanguardia, y el viaje como salto atrás a los orígenes, a ese estado edénico, utópico y elemental que anhelaba el primitivismo.
La tercera, y última, se refiere a la concepción moderna de lo exótico y sus vinculaciones con la etnografía.
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The exhibition "Gauguin and the Voyage to the Exotic" explores three themes that are connected and interrelated throughout. The first and foremost is the figure of Paul Gauguin, whose flight to Tahiti—where he returned to primitivism through exoticism—is the common thread that runs through the whole exhibition. Not only have his iconic paintings in a Polynesian guise become the most appealing images in modern art, but they also had a major influence on the artistic movements of the first decade of the 20th century, such as French fauvism and German expressionism.
The second is the voyage: the voyage as an escape from civilisation—a theme that would provide the avantgarde with fresh impetus—and the voyage as a return to the origins, to the Edenic, utopian and elementary state craved by primitivism.
The third and last refers to the modern idea of the exotic and its connections with ethnography.
This picture belongs to 'Invitation to the Voyage'.
The scenes of feminine indolence that Gauguin painted during his Tahitian period are influenced to an extent by the exoticism of Eugène Delacroix.
The French Romantic painter was one of the first to travel to northern Africa and was also a forerunner in viewing the work of art as a product of the creative imagination. The rhythmic movement and enticing colours of his Romantic depictions of the “splendour of the Orient” would set an essential precedent for some artists of the modern era.
This picture belongs to 'Invitation to the Voyage'.
The scenes of feminine indolence that Gauguin painted during his Tahitian period are influenced to an extent by the exoticism of Eugène Delacroix.
The French Romantic painter was one of the first to travel to northern Africa and was also a forerunner in viewing the work of art as a product of the creative imagination. The rhythmic movement and enticing colours of his Romantic depictions of the “splendour of the Orient” would set an essential precedent for some artists of the modern era.
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