{"product_id":"paul-gauguin-women-bathing-fine-art-print","title":"Paul Gauguin — Women Bathing | Fine Art Print","description":"\u003cp\u003eFour women in dark bathing dresses wade into a pale green sea, the first three linked by hands and arms while the fourth bends forward at right, one hand near the water. One turns her face toward us; a swimmer's head shows further out. A line of white surf crosses the canvas, the water beyond turns deep green, and sailing boats, one with red-brown sails, sit on the horizon under a slate-blue sky. The signature and date are at lower left.\u003c\/p\u003e\u003cp\u003ePainted in 1885 while Gauguin lived in Dieppe on the English Channel, this canvas was shown at the eighth Impressionist exhibition in 1886. The National Museum of Western Art notes that its horizontal banding, simplified figures and heavy outlines mark the point at which he began to move away from Impressionism. It came to Tokyo from the Matsukata Collection in 1959.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1885, 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. 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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