{"product_id":"paul-gauguin-above-the-sea-the-flageolet-player-on-the-cliff-fine-art-print","title":"Paul Gauguin — Above the Sea (The Flageolet Player on the Cliff) | Fine Art Print","description":"\u003cp\u003eWe look steeply down a Breton cliff: a curve of pink sand and blue-white surf over dark rocks fills the upper left, while green, violet and rust slopes fall away beneath us. 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. 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. 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 FSC-certified wood with optional float glass, or unframed. 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