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Two Tahitian Women with Mango Blossoms, 1899

Painting: Two Tahitian Women with Mango Blossoms, 1899

Painter: Paul Gauguin


About The Artist - Paul Gauguin (7 June 1848 - 8 May 1903)

 

Eugène Henri Paul Gauguin, a leading Post-Impressionist painter, was the precursor of Primitivism and paved the way to the return of the pastoral.

 

About The Painting - Two Tahitian Women with Mango Blossoms

 

"In order to do something new we must go back to the source, to humanity in its infancy."

 

Paul Gauguin was a tortured soul, but an artist with immense talent and a pioneer of Primitivism. His paintings were characterized by exaggerated body proportions, stark contrasts and geometric designs. Having spent much of his adult life in Tahiti, his paintings offer a glimpse of the life on this remote island.

 

The painting, Two Tahitian Women with Mango Blossoms is a fascinating study of the female form, contrasting colors and tribal art The painting has a stark power that captures the imagination of the viewer and transports him to a new, wild and colorful environment. The raw power and simplicity of the theme is both inspiring and motivating.

 

A Post-Impressionist painter, Gauguin's work such as Two Tahitian Women with Mango Blossoms has been a constant source of admiration and influence on both artists and movements through the early 20th century including Pablo Picasso, Henri Matisse, Andre Derian, Cubism, Fauvism etc.

 

Perhaps the fact that Gauguin's, like his friend van Gogh, frequent bouts of depression and despondency led him to view life as a color canvas with beautiful people, innocent people, who radiated inner beauty and calmness and paint the same with passion.

 

The search for new life, which is more real and more sincere, is clearly depicted in his painting Two Tahitian Women with Mango Blossoms. The woman swathed in the black cloth is believed to his mistress in Tahiti. The painting is unique because of its flat forms, violent and bright colors and absolute sincerity in depiction of the subject.

 
 
 
 
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