Description

Paul Gauguin's "Vision of the Sermon" (1888), one of the iconic works of the late nineteenth century, continues to provoke profound reassessment and interpretation by art historians, and it is central to this third volume of "Van Gogh Studies". Dario Gamboni discusses the painting as a self-reflexive work dealing in visual terms with issues of perception, cognition and representation; Juliet Simpson addresses the art critic Aurier's contribution to the promotion of Gauguin as the exemplary symbolist artist; while Rodolphe Rapetti examines Emile Bernard's artistic response to 'Vision of the sermon' in the context of Rosicrucianism; the Belgian art world's critical reaction to this and other works by the artist is meticulously described and analysed in Elise Eckermann's essay; while June Hargrove presents a challenging vision of Gauguin's portraits of his 'alter ego' Meijer de Haan. Other contributions include Sandra Kister's examination of the way the Thorvaldsen Museum in Copenhagen functioned as a role model for the Musee Rodin in Paris; Richard Thomson's discussion of the diverse ways in which French artists working in the early Third Republic responded to contemporary concepts of 'la psychologie nouvelle'; and, finally, a fresh view of nineteenth-century illustrations, including caricatures, offered by Patricia Mainardi.

Visions: Gauguin and His Time Van Gogh Studies 3

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Paul Gauguin's "Vision of the Sermon" (1888), one of the iconic works of the late nineteenth century, continues to provoke... Read more

    Publisher: Waanders BV, Uitgeverij
    Publication Date: 14/07/2010
    ISBN13: 9789040076596, 978-9040076596
    ISBN10: 9040076596

    Number of Pages: 208

    Non Fiction , Art & Photography

    Description

    Paul Gauguin's "Vision of the Sermon" (1888), one of the iconic works of the late nineteenth century, continues to provoke profound reassessment and interpretation by art historians, and it is central to this third volume of "Van Gogh Studies". Dario Gamboni discusses the painting as a self-reflexive work dealing in visual terms with issues of perception, cognition and representation; Juliet Simpson addresses the art critic Aurier's contribution to the promotion of Gauguin as the exemplary symbolist artist; while Rodolphe Rapetti examines Emile Bernard's artistic response to 'Vision of the sermon' in the context of Rosicrucianism; the Belgian art world's critical reaction to this and other works by the artist is meticulously described and analysed in Elise Eckermann's essay; while June Hargrove presents a challenging vision of Gauguin's portraits of his 'alter ego' Meijer de Haan. Other contributions include Sandra Kister's examination of the way the Thorvaldsen Museum in Copenhagen functioned as a role model for the Musee Rodin in Paris; Richard Thomson's discussion of the diverse ways in which French artists working in the early Third Republic responded to contemporary concepts of 'la psychologie nouvelle'; and, finally, a fresh view of nineteenth-century illustrations, including caricatures, offered by Patricia Mainardi.

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