French 1848-1903 Paul Gauguin Art Locations (born June 7, 1848, Paris, France ?? died May 8, 1903, Atuona, Hiva Oa, Marquesas Islands, French Polynesia) French painter, sculptor, and printmaker. He spent his childhood in Lima (his mother was a Peruvian Creole). From c. 1872 to 1883 he was a successful stockbroker in Paris. He met Camille Pissarro about 1875, and he exhibited several times with the Impressionists. Disillusioned with bourgeois materialism, in 1886 he moved to Pont-Aven, Brittany, where he became the central figure of a group of artists known as the Pont-Aven school. Gauguin coined the term Synthetism to describe his style during this period, referring to the synthesis of his paintings formal elements with the idea or emotion they conveyed. Late in October 1888 Gauguin traveled to Arles, in the south of France, to stay with Vincent van Gogh. The style of the two men work from this period has been classified as Post-Impressionist because it shows an individual, personal development of Impressionism use of colour, brushstroke, and nontraditional subject matter. Increasingly focused on rejecting the materialism of contemporary culture in favour of a more spiritual, unfettered lifestyle, in 1891 he moved to Tahiti. His works became open protests against materialism. He was an influential innovator; Fauvism owed much to his use of colour, and he inspired Pablo Picasso and the development of Cubism.   Related Paintings of Paul Gauguin :. | Still Life with Parrots | Les Alyscamps | Portrait of Madeline Bernard | Breton Peasants | Portrait of Madame Gauguin |
Related Artists:
DARET, Jacques
Netherlandish Northern Renaissance Painter, ca.1404-1470 was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil,
Joachim Beuckelaer
1535-1574 Flemish Joachim Beuckelaer Galleries b Antwerp, c. 1534; dAntwerp, c. 1574). Flemish painter. He came from an Antwerp family of obscure painters and seems to have spent his entire life there. He trained in the studio of Pieter Aertsen, who in 1542 had married Beuckelaers aunt; he became an independent master and also married in 1560. His earliest known work dates from that year, and his development can be followed closely to 1570. The example of Beuckelaers master remained decisive throughout his career. Not only did he take over Aertsens new repertory of secular subjects, he also completely adopted his stylistic idiom and manner of painting, so that it can be difficult to distinguish the two hands. Beuckelaer was, however, by no means a slavish imitator, and as regards execution he fully bears comparison with Aertsen.
Ferdinand Theodor Hildebrandt
painted Kinder in Erwartung des Weihnachtsbaumes in 1840