{"title":"Paul Gauguin Prints","description":"\u003cp\u003eFine art prints by Paul Gauguin (French, 1848–1903). Every work in our Paul Gauguin collection is printed to order. Archival giclée on Hahnemühle fine art paper. Free worldwide shipping.\u003c\/p\u003e","products":[{"product_id":"paul-gauguin-arlesiennes-mistral-fine-art-print","title":"Paul Gauguin — Arlésiennes (Mistral) | Fine Art Print","description":"\u003cp\u003eTwo women wrapped in dark blue and black shawls lean together on a green mound, their heads bowed close together, with a red-and-white picket fence at the lower right. Two more figures in blue coats with white collars walk together in the middle distance. Two tall golden-orange cone shapes rise behind them on the green, with a small rounded red-and-green form between them and patches of blue, white and yellow beyond. 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Her right hand rests on the arm of the chair and her left lies on a white handkerchief in her lap; one bare foot shows beneath the hem. Behind her a deep blue wall carries a framed picture of a thatched hut on green land, above an olive-brown floor. Signed and dated 91 at lower right.\u003c\/p\u003e\u003cp\u003eGauguin painted it in 1891, his first year in Tahiti, and showed it in Paris in his 1893 exhibition at the Galeries Durand-Ruel under the title Mélancolique. The dress is the long, loose style introduced by missionaries, and the Tahitian title is usually translated as melancholic or brooding. The Nelson-Atkins bought the painting in 1938.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1891, Nelson-Atkins Museum of Art, Kansas City.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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At right a figure in a pale top sits with the head turned to the left, and at lower left a face rests low beside an oval panel carrying looping letters. A small pale animal and curling leaf shapes crowd the floor between them, and cream paper shows around the block.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. He led the Pont-Aven painters toward flat colour and simplified form, and worked beside Van Gogh in Arles in 1888. From 1891 he lived mostly in Tahiti and, from 1901, the Marquesas, where Polynesian figures, colour and myth became his subject. There he took girls of thirteen and fourteen as his 'wives': by his own account Teha'amana, whose face recurs in the Tahitian paintings of 1891–93, was thirteen. 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At left a figure in a blue hood stands with a large pale bundle, and in the foreground a woman in a red-brown headscarf bends low. Red and ochre baskets sit on the yellow bank, and pale green trees and a yellow haystack rise on the fields beyond. Painted at Arles in 1888 and signed at lower left.\u003c\/p\u003e\u003cp\u003eThe original: oil on burlap, 1888, Museum of Modern Art, New York.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. He led the Pont-Aven painters toward flat colour and simplified form, and worked beside Van Gogh in Arles in 1888. From 1891 he lived mostly in Tahiti and, from 1901, the Marquesas, where Polynesian figures, colour and myth became his subject. There he took girls of thirteen and fourteen as his 'wives': by his own account Teha'amana, whose face recurs in the Tahitian paintings of 1891–93, was thirteen. 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On a narrow path at right a boy in a yellow straw hat and pale blue jacket plays a dark wooden flute, and below him a girl in a white cap leans on the bank holding a curved yellow blade. White flowers dot the bank beside a strip of yellow wheat. Signed and dated at lower right.\u003c\/p\u003e\u003cp\u003eGauguin painted this view in 1889 at Le Pouldu, a coastal village in Brittany, looking down from the cliffs onto the waves breaking on the beach. The museum reads the girl with her scythe and the boy with his flageolet, a local flute, as signs of his attachment to Breton life. The canvas came to Indianapolis in 1998 with the Samuel Josefowitz collection of the School of Pont-Aven.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1889, Indianapolis Museum of Art at Newfields.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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The girl at left, in a navy dress and brown apron with a red flower at her breast, swings her free arm wide; the girl at right wears a green dress and rust apron, and the third, in black, turns away in profile. All wear wooden clogs. A small dog noses the grass among haystacks, and beyond a stone wall rise village roofs, a church spire and dark trees under a pink sky.\u003c\/p\u003e\u003cp\u003eIn June 1888 Gauguin wrote to Theo van Gogh that he was painting a Breton gavotte danced by three little girls among the hay; the gavotte de l'Aven, danced with joined hands in a loose chain, was the local dance of Pont-Aven. 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Straight dark hair, parted in the centre, falls past her ear and sweeps down across one shoulder in long strokes. Soft shading models the broad nose, full lips and cheek, while the neckline of her dress and the line of her shoulders are only lightly sketched, fading into the warm tan of the sheet.\u003c\/p\u003e\u003cp\u003eThe drawing belongs to a group of finished portrait drawings of Tahitians that Gauguin made soon after he arrived in the South Seas in 1891, when he held off from painting to study the landscape and the people through observation and drawing. The Cleveland Museum of Art, which holds it, notes that its careful graphite modelling suggests it was drawn from life.\u003c\/p\u003e\u003cp\u003eThe original: graphite with stumping and graphite wash on parchment, 1891, Cleveland Museum of Art.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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There he took girls of thirteen and fourteen as his 'wives': by his own account Teha'amana, whose face recurs in the Tahitian paintings of 1891–93, was thirteen. His synthetist style shaped the Nabis, Fauvism and Expressionism; in recent decades historians and museums have reassessed him for this sexual exploitation of Polynesian girls and for the colonial fantasy of Tahiti his work helped build. His paintings are held by the Musée d'Orsay, the Museum of Fine Arts, Boston and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in solid wood with low-reflection glazing, or unframed. 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Dark blue-green cypresses crowd the right, one pale tree twisting upward beside them, and a leafy tree and a tall stack of straw close the left edge. In the foreground cut sheaves curve across the stubble, with tufts of green grass, under a grey and pink sky.\u003c\/p\u003e\u003cp\u003eThis was the first canvas Gauguin painted during the two months he spent with Vincent van Gogh in Provence in late 1888, just after a productive summer in Pont-Aven. The Indianapolis Museum of Art notes that while the rural subject and acid colours recall Van Gogh, the way the haystack and farm buildings are locked together owes more to Paul Cezanne.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1888, Indianapolis Museum of Art at Newfields.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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Wind-bent trees with dark trunks spread across the middle ground. At right two women in white caps work in the field, one bending low, while a dark-haired girl in a rose-red dress and dark shawl stands beside a grey standing stone. Long fallen branches lie across the pink path in the foreground. Signed and dated at the lower right.\u003c\/p\u003e\u003cp\u003eGauguin painted this coastal view in Brittany in 1889, most likely in the summer, when he and Emile Bernard were building pictures from memory rather than from direct observation. The Nationalmuseum in Stockholm notes that few single works have been given greater importance in Swedish art history: owned by the painter Richard Bergh, it shaped Swedish National Romantic landscape painting. It entered the museum in 1919 as a gift from Hjalmar Granhult.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1889, Nationalmuseum, Stockholm.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. He led the Pont-Aven painters toward flat colour and simplified form, and worked beside Van Gogh in Arles in 1888. From 1891 he lived mostly in Tahiti and, from 1901, the Marquesas, where Polynesian figures, colour and myth became his subject. There he took girls of thirteen and fourteen as his 'wives': by his own account Teha'amana, whose face recurs in the Tahitian paintings of 1891–93, was thirteen. His synthetist style shaped the Nabis, Fauvism and Expressionism; in recent decades historians and museums have reassessed him for this sexual exploitation of Polynesian girls and for the colonial fantasy of Tahiti his work helped build. 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Behind it stands a dark glazed jug modelled as a man's head, its handle curling at the back, and to its right lies a single green pear. Framed pictures hang on the pale wall behind, one showing red-leaved trees at the upper right. The signature and date are brushed in red at the lower right.\u003c\/p\u003e\u003cp\u003eThe original: oil on paper mounted on panel, 1889, Harvard Art Museums, Cambridge, Massachusetts.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. He led the Pont-Aven painters toward flat colour and simplified form, and worked beside Van Gogh in Arles in 1888. From 1891 he lived mostly in Tahiti and, from 1901, the Marquesas, where Polynesian figures, colour and myth became his subject. There he took girls of thirteen and fourteen as his 'wives': by his own account Teha'amana, whose face recurs in the Tahitian paintings of 1891–93, was thirteen. 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Below them stand three blue goblets with small apples between, and at the bottom a patterned bowl of fruit and a white napkin holding pears and a large reddish fruit. Everything is outlined in dark blue against a pale cloth printed with faint leaves, and the table edge curves across the lower left corner. Monogrammed and dated at the lower left.\u003c\/p\u003e\u003cp\u003eGauguin painted it in 1888 in Brittany, where he was working among a group of painters who were turning away from naturalistic colour and description. The Museum of Modern Art, New York, which holds it through the Mrs. Simon Guggenheim Fund, links the flat, outlined puppies and the tablecloth pattern to children's-book illustration and to Japanese prints.\u003c\/p\u003e\u003cp\u003eThe original: oil on wood, 1888, Museum of Modern Art, New York.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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At left one in a pink blouse faces the lawn, a white flower in her hair. At the centre a woman in a straw hat with a blue polka-dot ribbon sits with her back to us, one bare foot outstretched, in a lilac flowered blouse and dark blue skirt. Beyond her a woman in maroon irons cloth, and another in orange lies on her front. A basket of fruit sits in the foreground.\u003c\/p\u003e\u003cp\u003eGauguin worked on this scene of everyday life over a long period, making several changes along the way: the basket in the foreground, for example, replaced a dog. The painting came to the Metropolitan Museum of Art as part of the Walter H. and Leonore Annenberg Collection, given in 1993 with a bequest in 2002.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, about 1892–94, Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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The taller girl at left wears a brown headscarf, a blue blouse and a long ochre apron; the smaller girl wears a dark hood and a mauve and ochre striped pinafore over a blue blouse, and their hands meet between them. Behind them a red-orange slope spotted with dark stones drops to green hills and a deep blue sea with a white curl of surf and an orange island.\u003c\/p\u003e\u003cp\u003eGauguin painted the picture at Le Pouldu in the autumn of 1889; the National Museum of Western Art, Tokyo, points to its flat fields of bright red, green and blue and its strong outlines, the manner known as Cloisonnism. Matsukata Kojiro bought it in Paris in 1921; it was sequestered by the French government in 1944 and came to Japan in 1959.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1889, National Museum of Western Art, Tokyo.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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She wears a mauve jacket over a wide white collar fastened with a round blue-green brooch, and a dark green skirt, one hand resting on her lap. Behind her hangs a still life of apples, a fruit bowl, a glass and a knife on a white cloth, painted in greens and blues. Initialled and dated at the right.\u003c\/p\u003e\u003cp\u003eThe still life behind the sitter is Paul Cezanne's Still Life with Fruit Dish of 1879-80, now in the Museum of Modern Art, New York, which Gauguin owned; the Art Institute of Chicago notes that his copy is close to the original's scale and that he borrowed Cezanne's flattened space, so that the woman seems to tip forward from her chair. The sitter has not been identified.\u003c\/p\u003e\u003cp\u003eThe original: oil on linen canvas, 1890, Art Institute of Chicago.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. 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One, bare to the waist above a blue pareu, lowers her eyes to play a small flute; the other, in a white one-shouldered dress, sits cross-legged and looks straight out. An orange-red dog noses the ground at lower left. Beyond flat bands of yellow, red and green, three small women gather before a large seated statue, one with her arms raised. The word AREAREA is painted at lower right.\u003c\/p\u003e\u003cp\u003eArearea was painted during Gauguin's first stay in Tahiti. The Musée d'Orsay notes that he enlarged a small carved statue into the monumental figure in the background and invented the rite performed before it. It was among the Tahitian paintings he showed in Paris in November 1893, an exhibition that did not win the response he had hoped for; he counted it among his best paintings and bought it back in 1895, before leaving Europe for good.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1892, Musée d'Orsay, Paris.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. He led the Pont-Aven painters toward flat colour and simplified form, and worked beside Van Gogh in Arles in 1888. From 1891 he lived mostly in Tahiti and, from 1901, the Marquesas, where Polynesian figures, colour and myth became his subject. There he took girls of thirteen and fourteen as his 'wives': by his own account Teha'amana, whose face recurs in the Tahitian paintings of 1891–93, was thirteen. 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