Gauguin

Gauguin — marelibri

Thomson, Belinda; Tamar Garb; Charles Forsdick; Vincent Gille; LindaGoddard; Philippe Dagen; Paul GauguinBiblio.com

Gauguin; Maker of Myth

2010rif. 87490Princeton University Press. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 256 pages; 252 illus. -- with a bonus offer--; This major reevaluation of Paul Gauguin presents the artist and his work in an entirely new light. The vivid unnaturalistic colors and bold outlines of Gauguin's paintings and the strong semiabstract quality of his woodcuts had a profound effect on the development of twentieth-century art. Here readers will discover why Gauguin was one of the most important artists behind European modernism--yet one who also challenged its very tenets. Because while modern art largely rejected narrative for Gauguin it remained central. Gauguin is the first book to fully examine his use of stories and myth to give powerful narrative tension to his paintings at a time when other painters thought storytelling was dead. Gauguin's life in French Polynesia is often portrayed as a quest for the other with the artist as the romantic explorer encountering primitive cultures for the first time. In fact he was deeply immersed in world art and a great reader of Polynesian stories and myths. This book cuts through the mystique surrounding Gauguin--one the artist himself cultivated--to show how he self-mythologized presenting himself to the world as a suffering Christ-like figure. Stunningly illustrated and unprecedented in scope Gauguin features more than 200 museum-quality reproductions of paintings works on paper ceramics woodcarvings and writings including Gauguin's beautifully illustrated letters and books. Exhibition Schedule: Tate Modern London</br></br>September 30 2010 - January 16 2011 National Gallery of Art Washington</br></br>February 27 - June 5 2011 . 2010. 0691148864 . Princeton University Press hardcover

AB Books · Stati Uniti1976,00 USD≈ 1761,93 €

Wright, Alastair; Calvin Brown; Paul GauguinBiblio.com

Gauguin's Paradise Remembered; The Noa Noa Prints

2010rif. 87491Museum; Yale University Press Distribution . New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in English. 136 pages; 82 illus. -- with a bonus offer--; In 1891 Paul Gauguin 18481903 traveled to Tahiti in an effort to live simply and to draw inspiration from what he saw as the island’s exotic native culture. Although the artist was disappointed by the rapidly westernizing community he encountered his works from this period nonetheless celebrate the myth of an untainted Tahitian idyll a myth he continued to perpetuate upon his return to Paris. He created a travel journal entitled Noa Noa fragrant scent a largely fictionalized account that recalled his immersion into the spiritual world of the South Seas. To illustrate his text Gauguin turned for the first time to the woodcut medium creating a series of ten dark and brooding prints that he intended to publish alongside his journala publication that was never realized. The woodcuts crystallized important themes from his work and are the focus of this major new study. Gauguin's Paradise Remembered addresses both the artist’s representation of Tahiti in the woodcut medium and the impact these works had on his artistic practice. Through its combined sense of immediacy in the apparent directness of the printing process and distance through the mechanical repetition of motifs the woodcut offered Gauguin the ideal medium to depict a paradise whose real attraction lay in its remaining always unattainable. With two insightful essays this book posits that Gauguin’s Noa Noa prints allowed him to convey his deeply Symbolist conception of his Tahitian experience while continuing his experiments with reproductive processes and other technical innovations that engaged him at the time. . 2010. 0300149298 . Museum; Yale University Press (Distribution) paperback

AB Books · Stati Uniti1976,00 USD≈ 1761,93 €

Paul GAUGUIN - George-Daniel de MONFREIDBiblio.com

Diane et Actéon aux Marquises. Noa Noa. Epreuve unique du bois dessiné et gravé d'après Paul Gauguin par George-Daniel de Monfreid

1924rif. 782481924. Fine. s. d. 1924 9.30 x 7.80 cm Une feuille Diane et Actéon aux Marquises. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreidbetween 1904 & 1924 93 x 78 mm one sheetOriginal proof likely unique of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after two works by Paul Gauguin. Print on Japan silk annotation by the artist in the left-hand margin. Woodcut drawn and engraved after two works the man holding a branch being a reproduction of a watercolor on page 37 of the Noa Noa manuscript while the full-length woman originally observed by this browser is presented here in bust with her hand to her face model reproduced on a woodcut engraved by Gauguin on page 4 of the manuscript and his original sketch pasted on page 51 evoking a similar scene. The final woodcut will serve as the head of chapter IV of the first true illustrated edition of Noa Noa published by Crès in 1924 the first illustrated work after Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb engraving synthesizing a watercolor from the original Noa Noa manuscript inspired by the myth of Diana and Actaeon engraved by Gauguin's closest friend and executor the artist George-Daniel de Monfreid heir to the album he would offer to the French State in 1927. A likely unique proof part of 17 known test woodcuts from the early project to publish Noa Noa all made on various fine papers and annotated by the artist. Woodcut engraved after a watercolor reinterpreting the myth of Diana surprised in the bath by Actaeon. In the engraving Monfreid took care to preserve the typical of deer antler shape of the branch seized by the indiscreet which evokes its metamorphosis by the goddess. A very rare work by Gauguin mixing ancient mythology and island exoticism whose subversive power seems entirely carried by the vahine Diana's expression of feint surprise. It is from the original illustrated manuscript of Noa Noa brought back from Tahiti by Segalen on the artist's death in 1903 that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this to read and look at notebook. The first manuscript written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893 responded to a different project. Gauguin had composed only the text interspersed with blank pages for Morice's poems. But after several years without news Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin therefore copied his manuscript and illustrated it during his second stay in Polynesia with sketches watercolors and collages. This album that the artist enriched and safely preserved until his death is preserved today at the Musée d'Orsay. It is therefore from this manuscript the only one illustrated that Monfreid composed the edition of Gauguin's Noa Noa. However although Monfreid's publication was forward it took more than twenty years to complete in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript and to the whole of Gauguin's Tahitian work who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings while scrupulously respecting the artist's line transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin who in Pont-Aven produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. unknown

Rare Books Le Feu Follet - Edition-Originale.com · Francia1955,00 €

Paul GAUGUIN - George-Daniel de MONFREIDBiblio.com

La mémoire et l'imagination. Noa Noa. Epreuve unique du bois dessiné et gravé d'après Paul Gauguin par George-Daniel de Monfreid

1924rif. 782471924. Fine. s. d. 1924 9.30 x 7.80 cm Une feuille La Mémoire et l'Imagination. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreid between 1904 & 1924 93 x 78 cm one sheet Original proof likely unique of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after a watercolor by Paul Gauguin. Print on fine cream laid paper annotation by the artist in the left-hand margin. Woodcut drawn and engraved after a watercolor from the Noa Noa manuscript pasted on a page of text of the famous album. The final woodcut will serve as the head of the first illustrated edition of Noa Noa published by Crès in 1924 the first illustrated work after Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb and significant engraving after a very specific watercolor from Paul Gauguin's manuscript a real breakthrough in text engraved by his closest friend and executor the artist George-Daniel de Monfreid heir to the album he would offer to the French State in 1927. The initial watercolor was cut out in waves around the female figure and pasted on the last chapter to prevent it from being read and thus get the story back on track. Gauguin had also added winding lines starting from the watercolor on the text page thus giving the impression of a cave breaking through the page by the psychic power of the sitting woman whose head diffuses the undulating rays. Monfreid decided to place it at the head of the work accompanied by two birds taken from other works to illustrate the power of the artist and his imagination. A likely unique proof part of 17 known test woodcuts from the early project to publish Noa Noa all made on various fine papers and annotated by the artist. Unique proof of a woodcut engraved after the mystical watercolor erasing the first ending of the story to allow the reader to graphically enter the painted album repeated in the printed version as the initiatory opening of the engraved story. It is from the original illustrated manuscript of Noa Noa brought back from Tahiti by Segalen on the artist's death in 1903 that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this to read and look at notebook. The first manuscript written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893 responded to a different project. Gauguin had composed only the text interspersed with blank pages for Morice's poems. But after several years without news Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin therefore copied his manuscript and illustrated it during his second stay in Polynesia with sketches watercolors and collages. This album that the artist enriched and safely preserved until his death is preserved today at the Musée d'Orsay. It is therefore from this manuscript the only one illustrated that Monfreid composed the edition of Gauguin's Noa Noa. However although Monfreid's publication was forward it took more than twenty years to complete in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript and to the whole of Gauguin's Tahitian work who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings while scrupulously respecting the artist's line transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin who in Pont-Aven produced 10 woodcu unknown

Rare Books Le Feu Follet - Edition-Originale.com · Francia1955,00 €

Paul GAUGUIN - George-Daniel de MONFREIDBiblio.com

Les odalisques aux mangues. Noa Noa. Epreuve unique du bois dessiné et gravé d'après Paul Gauguin par George-Daniel de Monfreid Odalisques among the Mangoes

1924rif. 782491924. Fine. s. d. 1924 9.30 x 7.80 cm Une feuille Les Odalisques aux mangues. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreidbetween 1904 & 1924 93 x 78 cm one leafOriginal proof likely unique of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after Paul Gauguin. Print on fine cream laid paper annotation by the artist in the left-hand margin. Woodcut drawn and engraved after two different works. The back of the woman is an exact reproduction of an ink from page 92 of the Noa Noa manuscript while the woman lying down takes up the well-known theme of the woman with mangos Te Arii Vahine-Opoi that Gauguin represented in paint as well as with an engraving in 1898. The final woodcut will serve as the head of chapter V of the first true illustrated edition of Noa Noa published by Crès in 1924 the first illustrated work from Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb and significant engraving uniting two major themes of the Tahitian work including the central drawing of the Noa Noa manuscript faithfully engraved by Gauguin's closest friend and executor the artist George-Daniel de Monfreid. A likely unique proof part of 17 known test woodcuts from the project to prematurely publish Noa Noa all made on various fine papers and annotated by the artist. Woodcut engraved from two major original works. By uniting these two vahines with sensual postures Monfreid brings about a true synthesis of Gauguin's work all while using the traditional double figure of the artist's paintings. It is from the original illustrated manuscript of Noa Noa brought back from Tahiti by Segalen on the artist's death in 1903 that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this to read and look at notebook. The first manuscript written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893 responded to a different project. Gauguin had composed only the text interspersed with blank pages for Morice's poems. But after several years without news Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin therefore copied his manuscript and illustrated it during his second stay in Polynesia with sketches watercolors and collages. This album that the artist enriched and safely preserved until his death is preserved today at the Musée d'Orsay. It is therefore from this manuscript the only one illustrated that Monfreid composed the edition of Gauguin's Noa Noa. However although Monfreid's publication was forward it took more than twenty years to complete in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript and to the whole of Gauguin's Tahitian work who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings while scrupulously respecting the artist's line transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin who in Pont-Aven produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The intermediate woodcuts until then unknown testify to the slow work of composition to restore the artistic richness of Gauguin's work by his most faithful artistic companion and first champion: When I saw Gauguin for the first time I was greatly disconcerted by the details of art that radiated from his works as well as from the conv unknown

Rare Books Le Feu Follet - Edition-Originale.com · Francia1955,00 €

Paul GAUGUIN - George-Daniel de MONFREIDBiblio.com

Tehura. Noa Noa. Epreuve unique gravée d'après le tableau Merahi metua no tehamana de Paul Gauguin par George-Daniel de Monfreid Tehura. Original proof engraved after

1924rif. 782501924. Fine. s. d. 1924 9.30 x 7.80 cm autre Tehura. Original proof engraved after the painting ""Merahi Metua no Tehamana"". Intermediate state for Noa Noabetween 1904 & 1924 93 x 78 cm one sheetOriginal proof likely unique of this intermediate state of Tehura wood drawn and engraved after Paul Gaughin's painting Merahi Metua no Tehamana by George-Daniel de Monfreid. Print on fine cream laid paper annotation by the artist in the left-hand margin. The definitive wood served as the head of chapter VI Le Conteur parle page 81 of the true first edition of Noa Noa published by Crès in 1924 the first illustrated work from Paul Gauguin and a majestic tribute to one of the precursors of modern art. A most important and very first woodcut of Gauguin's masterpiece engraved by his closest friend and executor artist George-Daniel de Monfreid to whom Gauguin offered the painting after two unsuccessful exhibitions. Likely unique proof part of 17 known test prints from the project to publish prematurely Noa Noa all made on various fine papers and annotated by the artist. Precious woodcut after Gauguin's masterpiece Merahi metua no Tehamana showing the painter's wife his main tahitian model. It is from the original illustrated manuscript of Noa Noa brought back from Tahiti by Segalen on the artist's death in 1903 that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this to read and look at notebook. The first manuscript written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893 responded to a different project. Gauguin had composed only the text interspersed with blank pages for Morice's poems. But after several years without news Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin therefore copied his manuscript and illustrated it during his second stay in Polynesia with sketches watercolors and collages. This album that the artist enriched and safely preserved until his death is preserved today at the Musée d'Orsay. It is therefore from this manuscript the only one illustrated that Monfreid composed the edition of Gauguin's Noa Noa. However although Monfreid's publication was forward it took more than twenty years to complete in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript and to the whole of Gauguin's Tahitian work who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings while scrupulously respecting the artist's line transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin who in Pont-Aven produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The intermediate woodcuts until then unknown testify to the slow work of composition to restore the artistic richness of Gauguin's work by his most faithful artistic companion and first champion: When I saw Gauguin for the first time I was greatly disconcerted by the details of art that radiated from his works as well as from the conversations of this extraordinary man. You immediately felt that he was the Master in L'Hermitage 1903. unknown

Rare Books Le Feu Follet - Edition-Originale.com · Francia2645,00 €

George-Daniel de MONFREID - [Paul GAUGUIN after] - (Victor SEGALEN)Biblio.com

Les Immémoriaux - Bois dessiné gravé et tiré en couleur par George-Daniel de Monfreid pour le frontispice du roman de Victor Segalen Les Immemoriaux - Woodcut drawn engraved and printed in color by George-Daniel de Monfreid for the frontispiece of Victor Segalen's novel

1907rif. 787771907. Fine. s. d. 1907 12.40 x 18.90 cm une feuille Original color proof of a woodcut inspired by the work of Gauguin and engraved by George-Daniel de Monfreid for a frontispiece project remaining unpublished of Victor Segalen's Les Immémoriaux. Only one other original color proof and one print run in black and white see below are known to date. Printed in two tones green and brown on old Japan and enhanced with gilt painting by the artist. This engraved woodcut was to illustrate as a frontispiece the original edition of Segalen's Les Immémoriaux an ethnographic novel directly inspired by his trip to Polynesia following in Gauguin's footsteps. Segalen therefore asked the painter's follower and closest friend to produce it to whom he also offered Noa Noa bought in Papeete during the auction sale of Gauguin's goods. A mutual friendship and admiration was then born between Segalen and Monfreid under the tutelary aegis of the late painter. It is also in constant reference to the Master that the two friends produce this frontispiece to which Segalen attached great importance but which he will be obliged to abandon due to publishing costs: This is a lot more interesting for me: what will you do for my plate If I dared to imagine something it would be a formidable full-face figure very plain very worn and of an androgyne with male tendences; in short the Maori type described by Gauguin in his Noa Noa and produced by him in the carved wood that remained in Tahiti face of a woman comparable to that which you possess and of which I gave you a photograph I believe. . Are you in favor of reserving your frontispiece for luxury and friends' copies or of prostituting it in current copies Allow me to renew a timid desire expressed at your Vollard exhibition: if you print some more proofs from your color engravings in pochoir do not forget me. Brest 2 November 1906. Monfreid's response 8 January 1907: I have started looking for your plate. Ah! I will not describe it to you yet: it does not come according to what your book should evoke. Besides I am not rich in imagination let alone in symbolism I remain as you have noticed a naturalist but not a realist and to summarize the impression of your Les Immémoriaux one would have to be Gauguin. Finally even so I am not losing hope of doing something; only that I need a little more time to study it.. Monfreid will produce two trial woodcuts whose sizes 22 x 12 cm and 23 x 16 cm were not adapted to the edition each time using the same formidable and frustrated figures Segalen wanted. Our woodcut seems to be the final version of these studies perfectly adapted to the in-12 format of Mercure de France. However the illustration includes the name of the author at the top yet Segalen a naval officer could not sign a novel and had to choose a pseudonym Max-Anély. This constraint may have contributed to this much-desired frontispiece being abandoned. However in all likelihood it was validated by the two trial woodcuts. Monfreid will also use the same male face to produce the ex-libris requested by Segalen. In his letter dated 2 November the poet already imagined a confidential print for Monfreid's work. In the end only two color copies of this proof enhanced in gold seem to have been preserved the second being today in the collections of the Musée Maurice Denis in Saint-Germain-en-Laye. The artist had likely printed one for himself and offered the other to Segalen who dreamed of owning etching of the one he called his ""Boss"" and to whom he would dedicate his collection of poems Peintures. unknown

Rare Books Le Feu Follet - Edition-Originale.com · Francia4600,00 €

GAUGUIN, Paul, & Charles MoriceBiblio.com

Noa Noa: Voyage de Tahiti.

1926rif. 132349Munich: R. Piper & Co. 1926. I have escaped everything that is artificial conventional customary. I am entering into the truth into nature First edition number 220 of 320 trade copies limitation number to the slipcase from a total run of 400; "printed in Germany" to foot of rear free endpaper. This work is a facsimile of Gauguin's original manuscript journal capturing his vivid impressions of Tahiti. He began the work in France in 1893 after his first stay on the island. It was augmented by the poet Charles Morice and went with Gauguin on his second trip to Tahiti in 1895. There he pasted prints into the manuscript and drew ink and watercolour drawings over the text. The original manuscript from which this facsimile was taken was discovered in Gauguin's hut in the Marquesas after his death in 1903 and is now housed at the Louvre. It "represents an important project in book-making by this major artist" Garvey 115. The publication history of this work has been much elaborated upon with various publications claiming originality. Gauguin gave a copy of the manuscript without the added illustrations to Morice who kept it until 1908 when he sold it to the publisher Edmond Sagot to settle debts he had incurred. Morice and Gauguin had a serious falling-out over financial arrangements and after Gauguin's death his wife and children continued to squabble about publication rights and financial arrangements. In 1916 the publisher George Cris negotiated a contract with Gauguin's wife Mette who died in 1920 resulting in a run of 100 copies in 1924. Large quarto. With numerous full-page facsimile reproductions of watercolours drawings woodblock prints and photos mounted on plates further illustrations in text all by Gauguin. Original straw cloth lettering to spine and front cover in red. With the lithographed dust jacket after a wood cut design. Housed in the publisher's plain card slipcase. Bookplate to front pastedown. Slight wear to spine ends; a near-fine copy in the jacket laid down on japon slight wear to slipcase extremities. Garvey Eleanor The Artist and the Book 115. hardcover

Peter Harrington · Regno Unito5000,00 £≈ 5950,40 €

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