Thursday, May 29, 2014

Paul Gauguin Paintings And Titian Paintings

By Darren Hartley


The bold colors, exaggerated body proportions and stark contrasts help Paul Gauguin paintings achieve broad success in the late 19th century. This paved the way for the Primitivism art movement. Paul Gauguin was a famed French artist who didn't have any formal art training. Instead, he simply followed his own vision, abandoning artistic conventions.

1888 saw the birth of one of the most famous Paul Gauguin paintings, the Vision of the Sermon. It was a boldly colored work depicting the Biblical tale of Jacob wrestling with an angel. Prior to this, one of his works was accepted into an important show in Paris entitled Salon of 1876.

Moving to Tahiti in 1891 saw Paul create innovative art by combining native culture with his own. Returning to France in 1893, he exhibited his Tahitian pieces to mixed reactions. Returning to French Polynesia, he completed one of the later masterpieces among Paul Gauguin paintings, which was a study of the human life cycle.

It was the first major public commission awarded to Tiziano Vecellio that ensured his stature as the leading Venetian painter of his time. Titian paintings are known for their tonal painting approach and their landscape style which was atmospheric at the same time that it was evocative.

It was a celebration of natural beauty blended with love and music that constituted the pastoral landscapes among the Titian paintings. This is very evident in two of Titian's works, Landscape with Goat and Two Satyrs in a Landscape. The latter landscape contrasted the stark beauty of a luscious landscape against mythological figures given a carefully balanced arrangement.

What was remarkable in the portraits among Titian paintings is not only their suggestion of the status and importance of their subjects but their inclusion of a psychological dimension to them. Sensitivity in the hands and face as well as monumentality of presence are among the aspects that connote status and importance. The instigation of a melancholic or dreamy mood in the subjects exposes the mental dimension.




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