{"product_id":"paul-gauguin-breton-girl-spinning-fine-art-print","title":"Paul Gauguin — Breton Girl Spinning | Fine Art Print","description":"\u003cp\u003eA young Breton woman stands barefoot on a grassy headland beside a slender tree, in a red headscarf, dark blue jacket and long rust-coloured apron over a blue-hemmed skirt. One hand rests at her chest, and a pale distaff rises beside her head. Above her a winged angel in green, holding a thin red sword, floats in a yellow cloud. Sailing boats cross a green sea, a brown cow stands on the headland, and a grey dog waits among curling stems. Inscribed 'en l'an 1889 PGo' at lower right.\u003c\/p\u003e\u003cp\u003eGauguin painted the girl straight onto the dining-room wall of the inn La Buvette de la Plage at Le Pouldu in 1889, one of a series of murals he made there with Meijer de Haan; it was found under layers of wallpaper in 1924. Writing to Van Gogh, he described a peasant woman spinning at the sea's edge but did not mention the angel. The museum notes that Joan of Arc was traditionally shown this way, after her vision of the Archangel Michael.\u003c\/p\u003e\u003cp\u003eThe original: oil on plaster, 1889, Van Gogh Museum, Amsterdam.\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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