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Gauguin The Adventure of Pont-Aven and Gauguin

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André CARIOU [under the direction of] [with Mary Anne STEVENS & Antoine TERRASSE]
The Adventure of Pont-Aven and Gauguin

Skira. Paris 2003, Hardcover publisher’s binding under illustrated dust jacket. (28.8 x 24.7 cm), 365 pages with 253 illustrations. 

« Extraordinary destiny of this small Breton village of 1,500 inhabitants, the capital of the canton with an incomparable evocative power, inseparable from the name of Gauguin, whose masterpieces are among the major works of Western painting at the end of the 19th century. The Vision of the Sermon (ill. 1), painted in Pont-Aven in 1888, is considered, in Gauguin’s work, as the hinge between a first period influenced by impressionism and a second, new and more personal, which we will henceforth call synthetism. Through the symbolic treatment of the theme and its plastic expression, it is one of the first stages in the birth of what we call “modern art”. Gauguin is not alone in Pont-Aven. From his first stay, two years previously, he became involved with a few artists, often young, sensitive to the strength and non-conformism of his personality but also to the modernity of his painting. The group will expand over successive meetings, both in Pont-Aven and in Pouldu. The relationships between these artists, who are for the most part innovators, are identified under the term “School of Pont-Aven”.

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« Extraordinary destiny of this small Breton village of 1,500 inhabitants, the capital of the canton with an incomparable evocative power, inseparable from the name of Gauguin, whose masterpieces are among the major works of Western painting at the end of the 19th century. The Vision of the Sermon (ill. 1), painted in Pont-Aven in 1888, is considered, in Gauguin’s work, as the hinge between a first period influenced by impressionism and a second, new and more personal, which we will henceforth call synthetism. Through the symbolic treatment of the theme and its plastic expression, it is one of the first stages in the birth of what we call “modern art”. Gauguin is not alone in Pont-Aven. From his first stay, two years previously, he became involved with a few artists, often young, sensitive