{"product_id":"paul-gauguin-self-portrait-gauguin-in-front-of-his-easel-fine-art-print","title":"Paul Gauguin — Self-Portrait (Gauguin in Front of His Easel) | Fine Art Print","description":"\u003cp\u003eThe painter sits in a heavy dark jacket, lapels pulled together, his face turned toward us with cropped brown hair and a moustache. His hand at the lower edge holds a brush over a surface smeared with red, white and dark green paint, and the edge of a canvas stands at the far left. A slanting beam cuts across the upper right of a cramped, green-shadowed room, with a chair back behind his shoulder. Signed in red at the upper right.\u003c\/p\u003e\u003cp\u003eGauguin painted it in Copenhagen in 1885, just before he decided to return to Paris, and the Kimbell describes it as the first of the many self-portraits in which he explored his inner life. Infrared and X-ray examination showed that he first painted himself in profile, with reproductions of his own paintings on the wall behind, before turning to face the viewer. The Kimbell Art Foundation bought it in 1997.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1885, Kimbell Art Museum, Fort Worth.\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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