《众神之日》保罗·高更(Paul Gauguin)高清作品欣赏

保罗·高更(Paul Gauguin)高清作品《众神之日》

作品名：众神之日

原名：马哈纳无阿图亚

艺术家：保罗·高更

年代：1894

风格：分隔主义

类型：寓言画

材质：布面油彩

标签：寓言和符号，塔希提

收藏：芝加哥艺术学院，芝加哥，IL，美国

1893年高更回到法国时，他大部分时间都在巴黎宣传他的作品和写作，并举例说明诺亚，诺亚是他塔希特经验的虚构描述。《神日》(Mahana No Atua)是高更在这段时期完成的为数不多的几幅画作之一，与他的文学计划密切相关。在大溪地海景中，组成分为三个水平带。在山顶，岛上的居民在一座高耸的雕塑附近表演仪式。像高更的塔希提形象中的许多人物一样，纪念性雕塑不是源自于当地宗教，而是来自于婆罗浮屠（JAVA）装饰佛教寺院建筑的雕刻浮雕的照片。在中间地带，三个对称排列的人物以可能表示出生、生命和死亡的姿势，靠着一片粉红色的泥土。中间的这位妇女，正式与顶部的雕塑相连，外表上与高更曾暗示天堂中的夏娃的基督教形象的其他塔希特女性相似。这一部分的下部唤起了鲜明的对比色，反映在水中。高更的后印象主义风格影响了20世纪早期的许多抽象派画家，其特点是描绘真实物体的倾向逐渐减弱，以及色彩平缓、曲线化的表现手法。

Title:Day of the Gods

Original Title:Mahana no atua

artist:Paul Gauguin

Date:1894

Style:Cloisonnism

Genre:allegorical painting

Media:oil,canvas

Tag:allegories-and-symbols,Tahiti

Location:Art Institute of Chicago, Chicago, IL, US

When Gauguin returned to France in 1893, he spent most of his time in Paris promoting his work and writing and illustrating Noa Noa, a fictionalized account of his Tahitian experience. Day of the Gods (Mahana No Atua), one of the very few paintings Gauguin completed during this period, is closely related to his literary project. Set in a Tahitian landscape by the sea, the composition is divided into three horizontal bands. At the top, islanders perform a ritual near a towering sculpture. Like many figures in Gauguin’s Tahitian images, the monumental sculpture was derived not from local religion but from photographs of carved reliefs adorning the Buddhist temple complex at Borobudur (Java). In the middle band, three symmetrically arranged figures are placed against a field of pink earth in poses that may signify birth, life, and death. The woman in the center, formally linked to the sculpture at the top, is similar in appearance to other depictions of Tahitian females who Gauguin used to suggest the Christian figure of Eve in paradise. The lower portion of the composition evokes brilliant, contrasting hues reflected in the water. Gauguin’s Post-Impressionist style, defined by a decreasing tendency to depict real objects and the expressive use of flat, curving shapes of vibrant color, influenced many abstract painters of the early 20th century.