"to flowers or fruit. The women in the painting also appear in two other works by Gauguin, ""Faa Iheihe (Tahitian Pastoral)"" (1898) and ""Rupe, Rupe"" (1899). The painting was attacked April 1, 2011, while on loan to the National Gallery of Art in Washington D.C. A woman named Susan Burns banged on the painting's plastic cover. Due to the protection of the plexiglass, the painting was not harmed. The woman was “immediately restrained and detained” by the museum’s security guards who charged her with destruction of property and attempted theft. The woman reportedly had ""a lengthy criminal record"" and ""a"
"Merahi metua no Tehamana Merahi metua no Tehamana (English Tehamana Has Many Parents or The Ancestors of Tehamana) is an 1893 painting by the French artist Paul Gauguin, currently in the collection of the Art Institute of Chicago. The painting is a portrait of Paul Gauguin's native wife Teha'amana during his first visit to Tahiti in 1891-1893. This marriage has always provoked controversy because of the manner it was contracted and Teha'amana's age: the marriage was arranged and completed in the course of a single afternoon and Gauguin claimed Teha'amana was just thirteen years old at the time. A is"
"Merahi metua no Tehamana Merahi metua no Tehamana (English Tehamana Has Many Parents or The Ancestors of Tehamana) is an 1893 painting by the French artist Paul Gauguin, currently in the collection of the Art Institute of Chicago. The painting is a portrait of Paul Gauguin's native wife Teha'amana during his first visit to Tahiti in 1891-1893. This marriage has always provoked controversy because of the manner it was contracted and Teha'amana's age: the marriage was arranged and completed in the course of a single afternoon and Gauguin claimed Teha'amana was just thirteen years old at the time. A is"
"also known to be a portrait of Teha'amana. She is assumed to have posed for numerous other paintings of the time, including the celebrated ""Spirit of the Dead Watching"". Teha'amana was the native wife of Paul Gauguin during his first visit to Tahiti in 1891 to 1893. It was extremely common at that time for French ""colonists"" to take native wives; the wives simply referred to as ""vahine"", Tahitian for ""woman"". These ""vahines"" were often very young, as was the case with Teha'amana, their marriage being arranged by their family for reasons of status or financial advantage. The daughters involved"
"precedent, Charles F. Stuckey suggests Delacroix's ""Women of Algiers"". The rear female figure is flush with the yellow-blue area. Her face is painted with individual features and represents the centre of the image. The pink colour of her dress is clearly distinct from the other colours. At the bottom right is the inscription ""NAFEA Faa ipoipo"" (""When will you marry""). Gauguin commonly inscribed his paintings in Tahitian at this time: he was fascinated by the language, though never advanced beyond its rudiments. Art historian Nancy Mowll Mathews wrote that Gauguin ""portrayed the [Tahitian] natives as living only to sing and"
"in Mataiea, Papeari, some forty-five kilometres from Papeete, installing himself in a native-style bamboo hut. Here he executed paintings depicting Tahitian life such as ""Fatata te Miti (By the Sea)"" and "" (Ave Maria)"", the latter to become his most prized Tahitian painting. Many of his finest paintings date from this period. His first portrait of a Tahitian model is thought to be "" (Woman with a Flower)"". The painting is notable for the care with which it delineates Polynesian features. He sent the painting to his patron George-Daniel de Monfreid, a friend of Schuffenecker, who was to become Gauguin's"
"is a fisherman in the background, fishing with a spear. The painting epitomizes the romantic view of Tahitians made famous by Pierre Loti's ""Le Mariage de Loti"". In that novel, Loti described his Tahitian bride's pursuits as extremely simple, ""reverie, bathing, above all bathing"". The women in the painting bathe naked, removing their ""pareos"", apparently unbothered by the presence of the fisherman nearby. This is an image of the uninhibited tropical paradise Gauguin had hoped to find, although the reality was that Polynesian culture had been transformed by western missionaries and colonialism as they imposed their own values and religion"
"Fatata te Miti (By the Sea) Fatata te Miti is an 1892 oil painting by French artist Paul Gauguin, located in the National Gallery of Art, in Washington, DC. Gauguin painted ""Fatata te miti (By the Sea)"" in 1892 during his first trip to Tahiti. Like ""Vahine no te vi (Woman of the Mango)"" (W 449) painted at the same time, it is an example of the relatively few straightforward genre scenes that Gauguin painted immediately after setting up his studio in a native bamboo hut at Mataiea, Papeari. Nevertheless, as Nancy Mowll Mathews, Gauguin's biographer, points out, neither represents"
"was to find ""an edenic paradise where he could create pure, 'primitive' art"", rather than the primitivist faux works being turned out by painters in France. Upon arrival, he found that Tahiti was not as he imagined it: it had been colonised in the 18th century, and at least two-thirds of the indigenous people of the island had been killed by diseases brought by Europeans. ""Primitive"" culture had been wiped out. Despite this, he painted many pictures of native women: nude, dressed in traditional Tahitian clothes, and dressed in Western-style dresses, as is the rear figure in ""When Will You"
"The Trojan Women Set Fire to their Fleet (Claude Lorrain) The Trojan Women Set Fire to their Fleet is a mid-17th century painting by French artist Claude Lorrain. Done in oil on canvas, the painting is currently in the collection of the Metropolitan Museum of Art. Claude Lorrain painted ""The Trojan Women Set Fire to their Fleet"" around 1643 at the behest of Cardinal Girolamo Farnese. The scene is Lorrain's take on a famed event in Book 5 of the ""Aeneid"" in which the exiled women of Troy, spurred on by the Hellenistic goddess Juno, burn the Trojan fleet to"
"Spirit of the Dead Watching Spirit of the Dead Watching (Manao tupapau) is an 1892 oil on burlap canvas painting by Paul Gauguin, depicting a naked Tahitian girl lying on her stomach. An old woman is seated behind her. Gauguin said the title may refer to either the girl imagining the ghost, or the ghost imagining her. The subject of the painting is Gauguin's young native wife Teha'amana (called ""Tehura"" in his letters), who one night, according to Gauguin, was lying in fear when he arrived home late: "" ... motionless, naked, belly down on the bed: she stared up"
"other island paradises: Palau, Fiji, Tahiti, Samoa, and the Solomon Islands over his thirty-year career. He is best known for his nude and semi-nude paintings of women of the Pacific islands. Most of his first works were sensual island wahines in island beach and jungle settings. He painted primarily with oils on board but also occasionally on canvas and with pastels. To add depth and texture, he switched in mid-career (1960) to painting with oils on fine, French silk, black velvet. This was in the midst of the 1960s' Tiki revolution and many of his nude pieces would be displayed"
"force their men to stop roaming and settle in Sicily. However, Aeneas prays to the god Jupiter to save the ships from the flames by summoning a rainstorm; this is eluded to by Lorrain via his inclusion of dark clouds in the top right of the painting. The Trojan Women Set Fire to their Fleet (Claude Lorrain) The Trojan Women Set Fire to their Fleet is a mid-17th century painting by French artist Claude Lorrain. Done in oil on canvas, the painting is currently in the collection of the Metropolitan Museum of Art. Claude Lorrain painted ""The Trojan Women Set"
"the most beautiful of women, the women of Tahiti. Paul Gauguin was also inspired by these beauties. Beautiful women are likewise an inspiration to Von and the study of the female form. Georia O'Keeffe shows an open spatial awareness, and positive link with nature and her surroundings. This can be attributed to the time she spent living in New Mexico. This connection to nature and open spatial arrangement of work can be seen in Von's work as he has also been influenced by O'Keeffe. From a broad overview, historically the post impressionists are Cezanne, Gauguin, and Vincent van Gogh. Post"
"La Parisienne (Renoir painting) La Parisienne is an oil painting by the French artist Pierre-Auguste Renoir, completed in 1874 and now displayed at the National Museum Wales in Cardiff. The work, which was one of seven presented by Renoir at the first Impressionist exhibition in 1874, is often referred to as The Blue Lady and is one of the centre-pieces of the National Museum's art collection. ""La Parisienne"" is a painting in oils on canvas completed in 1874, signed and dated by the artist. It shows a young woman in a long layered dress of a striking deep blue, her"
"mysterious young women seem to be gathering fruit from the branches of plants. Their feet are solidly anchored on the red ground. Behind them, we can see a yellow sky. Frozen, distant, silent, with eyes cast down and solemn faces, the figures are perhaps a revealing indication of the artist's isolation and ill health at the time of painting. Nave Nave Mahana Nave Nave Mahana (Tahitian: Delicious day) was made in 1896 by Paul Gauguin in Tahiti. It is kept in the Museum of Fine Arts of Lyon. The painting became part of the collections of the Lyon Museum in"
"Les Femmes d'Alger Les Femmes d'Alger (""Women of Algiers"") is a series of 15 paintings and numerous drawings by the Spanish artist Pablo Picasso. The series, created in 1954–1955, was inspired by Eugène Delacroix's 1834 painting ""The Women of Algiers in their Apartment"" (). The series is one of several painted by Picasso in tribute to artists that he admired. The entire series of ""Les Femmes d'Alger"" was bought by Victor and Sally Ganz from the Galerie Louise Leiris in Paris for $212,500 in June 1956 (equivalent to $ million in ). Ten paintings from the series were later sold"
"Two Venetian Ladies Two Venetian Ladies is a painting by the Italian Renaissance artist Vittore Carpaccio. The painting, believed to be a quarter of the original work, was executed around 1490 and shows two unknown Venetian ladies. The top portion of the panel, called Hunting on the Lagoon is in the Getty Museum, and another matching panel is missing. The painting was formerly considered to show two courtesans. Modern art historians think them more likely members to be of the patrician Torella family, as suggested by their fine clothes and the pearl necklaces, but academic debate continues, as with other"
"on the painting prior to the sale. The painting was sold for $179.4 million including fees, a record price for a painting at auction. It was bought by the former Qatari prime minister, Hamad bin Jassim bin Jaber Al Thani. Les Femmes d'Alger Les Femmes d'Alger (""Women of Algiers"") is a series of 15 paintings and numerous drawings by the Spanish artist Pablo Picasso. The series, created in 1954–1955, was inspired by Eugène Delacroix's 1834 painting ""The Women of Algiers in their Apartment"" (). The series is one of several painted by Picasso in tribute to artists that he admired."
"8 December 1892 letter to his wife, Gauguin gives translations of the Tahitian titles of the paintings he intends to send. He stresses this is for Mette's eyes only, so that she can provide them for those who ask for them. He fixes a price of at least 1,500 francs for the painting, and goes on to describe it as follows:I painted a nude of a young girl. In this position she is on the verge of being indecent. But I want it that way: the lines and movement are interesting to me. And so, I give her, in depicting"
"Influences of seminal European antecedents conspicuously permeated Tennent's transitional paintings of the late 1920s and early 1930s, such as ""Bathers"" (1926), ""Hawaiian Girl"" (1926), ""Girl with Apples"" (1926), ""Makuahine"" (1927), and ""Olympia of Hawaii (with Apologies to Manet)"" (1927). ""Olympia of Hawaii"", in the collection of the Honolulu Museum of Art, exemplifies Tennent's enchantment with color and use of the bright, warm hues endemic to Hawaiʻi. She adapted line and form to the appropriately vivid medium of oil. The majestic, explicitly Polynesian women that would figure in Madge Tennent’s iconic imagery surfaced in works such as ""Reclining Girl"" (1929) and"
"later Hahnemann. Guillaume Guillon-Lethière Guillaume Guillon-Lethière (10 January 1760 – 22 April 1832) was a French neoclassical painter. Born in Guadeloupe in 1760 to a French colonial official named Pierre Guillon and a disenfranchised ""mulatto"" mother, Lethière has been often written about in the context of French colonial history and the French Revolution. At 14 years old, he moved from Guadeloupe to Metropolitan France, and by 17 he had become the student of Gabriel François Doyen at the Académie royale de peinture et de sculpture. Lethière won second prize in the Prix de Rome of 1784 for his painting ""Woman"
"Oviri Oviri (Tahitian for savage or wild) is an 1894 ceramic sculpture by the French artist Paul Gauguin. In Tahitian mythology, Oviri was the goddess of mourning. She is shown with long pale hair, and wild eyes, smothering a wolf with her feet, while clutching a cub in her arms. Art historians have presented multiple interpretations—usually that Gauguin intended it as an epithet to reinforce his self-image as a ""civilised savage"". Tahitian goddesses of her era had passed from folk memory by 1894, yet Gauguin romanticises the island's past as he reaches towards more ancient sources, including an Assyrian relief"
"Christie's New York for US$251,200. Oviri Oviri (Tahitian for savage or wild) is an 1894 ceramic sculpture by the French artist Paul Gauguin. In Tahitian mythology, Oviri was the goddess of mourning. She is shown with long pale hair, and wild eyes, smothering a wolf with her feet, while clutching a cub in her arms. Art historians have presented multiple interpretations—usually that Gauguin intended it as an epithet to reinforce his self-image as a ""civilised savage"". Tahitian goddesses of her era had passed from folk memory by 1894, yet Gauguin romanticises the island's past as he reaches towards more ancient"
"Arii Matamoe Arii Matamoe, also titled The Royal End () is a painting on coarse cloth by the French artist Paul Gauguin, created in 1892 during the painter's first visit to Tahiti. It depicts a man's severed head on a pillow, displayed before mourners, and although it did not depict a common or contemporary Tahitian mourning ritual, may have been inspired by the death of Pōmare V in 1891 shortly after Gauguin's arrival. A curator for the J. Paul Getty Museum suggested Gauguin likely painted the canvas ""to shock Parisians"" upon his expected return to the city. In 1891, Gauguin"
"Girls at the Piano Young Girls at the Piano (French: Jeunes filles au piano) is an oil-on-canvas painting by French artist Pierre-Auguste Renoir, a leading painter in the development of the Impressionist style. The painting was completed in 1892 as an informal commission for the Musée du Luxembourg. Renoir painted three other variations of this composition in oil and two sketches, one in oil and one in pastel. Known by the artist as repetitions, they were executed to fulfill commissions from dealers and collectors. The work is on public display at the Musée d'Orsay in Paris, Metropolitan Museum of Art"
"Traditional dance costumes in Tahiti changed with the people who arrived on the islands. In 1776-1780, Captain James Cook sailed for a third voyage on the Pacific. On this trip he brought an artist who captured the image of the dancers of the island. The females are described to be wearing tapa cloth with feathers covering the breast and hanging from tassels around the waist. Braided hair rests as a headpiece with flowers inlaid. The males wore undecorated tapa around their waist and nothing on their head. Dance was prohibited until 1859 when the French organized a festival after Napoleon"
"to a greater extent than the original 1834 version. Women of Algiers Women of Algiers in their Apartment () is the title of two oil on canvas paintings by the French Romantic painter Eugène Delacroix. Delacroix's first version of ""Women of Algiers"" was painted in Paris in 1834 and is located in the Louvre, Paris, France. The second work, painted fifteen years later between 1847 and 1849, is located at the Musee Fabre, Montpellier, France. The two works both depict the same scene of four women together in an enclosed room. Despite the similar setting, the two paintings evoke completely"
"Michael Sadler and Lord Ivor Spencer-Churchill. It was purchased in 1929 by A. Conger Goodyear, whose art collection was bequeathed to the Buffalo Academy of Fine Arts housed at the Albright–Knox Art Gallery. Spirit of the Dead Watching Spirit of the Dead Watching (Manao tupapau) is an 1892 oil on burlap canvas painting by Paul Gauguin, depicting a naked Tahitian girl lying on her stomach. An old woman is seated behind her. Gauguin said the title may refer to either the girl imagining the ghost, or the ghost imagining her. The subject of the painting is Gauguin's young native wife"
"Women of Algiers Women of Algiers in their Apartment () is the title of two oil on canvas paintings by the French Romantic painter Eugène Delacroix. Delacroix's first version of ""Women of Algiers"" was painted in Paris in 1834 and is located in the Louvre, Paris, France. The second work, painted fifteen years later between 1847 and 1849, is located at the Musee Fabre, Montpellier, France. The two works both depict the same scene of four women together in an enclosed room. Despite the similar setting, the two paintings evoke completely different moods through the depiction of the women. Delacroix's"
"Les Demoiselles d'Avignon Les Demoiselles d'Avignon (The Young Ladies of Avignon, and originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. The work, part of the permanent collection of the Museum of Modern Art, portrays five nude female prostitutes from a brothel on Carrer d'Avinyó (Avignon Street) in Barcelona. Each figure is depicted in a disconcerting confrontational manner and none is conventionally feminine. The women appear as slightly menacing and rendered with angular and disjointed body shapes. Three figures on the left exhibit facial features in the Iberian style"
"Woman with Parakeet Woman with Parakeet () is a painting by Pierre-Auguste Renoir created in 1871. It is in the holdings of the Solomon R. Guggenheim Museum in New York as part of the Thannhauser Collection. The painting portrays model Lise Tréhot, who posed for Renoir in over twenty paintings during the years 1866 to 1872. Though the painting's date of creation has been a subject of debate, it is now agreed that ""Woman with Parakeet"" was created after Renoir returned from serving in the Franco-Prussian War, and likely after the events of the Paris Commune in 1871. Previous publications"
"Paul Gauguin Museum (Tahiti) The Paul Gauguin Museum () is a Japanese-styled art museum dedicated to the life and works of Paul Gauguin in Tahiti, French Polynesia. The museum has been ""closed for renovations"" since 2013. The museum is located at PK 51, 2 Papeari, Tahiti, directly across from the Botanical Gardens. French Polynesian and Marquesan cultural aspects are represented in its exhibits, which include original Paul Gauguin documents, photographs, reproductions, sculptures, engravings and gouaches. Also included and unseen in years are some of his sketches and block prints. Original paintings of Tahiti and Moorea by Englishwoman Constance Gordon-Cumming are"