Never More - Paul Gaugain (Part 3) Book Summary

Realism remains at the disposal of photography. In the new painting disappears coercion applying the rules of perspective, light, a specific source of light in the picture. Subject becomes an open sign, and no representation of reality. Postimpresjoniści sought to unlock the work of painting from the emulation of nature (that is, the concept of mimesis), kładli emphasis on autonomiczność works of painting. Paul Gauguin, according to the theory formulated by myself syntetyzmu not advocate for the beauty of realism, but the truth about his artistic "over-reality". Therefore, as opposed to realistic painting, where looking for a woman umierającą emphasis on the aspect of dying (theatre "Zaśnięcie Holy Virgin Mary" performed by an anonymous artist of early Renaissance, the same theme by the ingenious Caravaggia together with the whole arsenal of gestures and alegorii or even patetyczna "Death Eleni "Malczewski), postimpresjonizmie the image remain, as does the concept of the creator," secondary "to our own interpretation. Umiera author of the work, and raises the recipient, who can freely read out the elements. But with all freedom subjective "I", I concluded that "Never More" does not restore the concern of medieval monks on how to die, but it represents a cry of the modern artist as to how to live. Of course I can go back to the symbolism of color, texture green where the body will express mischief, transience and hope for paradise… Or repeat as uczonymi critics that the work of Gauguin characterized synthetic treatment spots of color, clean palette and the use of the mark for the separation of adjacent colors, and "Never More particularly, is gaining greater intensity and the brightness of the color of monumental simplicity and composition. <9> But no technical skills are a weighing of the dark image, but a magic krzta optimism, it may blue sky, which for the window "hospice" reminds us that world is not stopped, despite the fact that those who suffer, seeking its very end. Worse still, while we płaczemy, there continues a normal life - Tahitian eden or Renaissance sielanka Toskani, a magical view of the cypresses or szumiącym from the sea, which in its odmętach brings szmer distant wieści.Zagubiony for the first time a foreign and sinister island, Paul Gauguin pogrąża in increasingly deeper depression. Utożsamia on the spirit of the deceased daughter, and slowly zawierza krukowi Poego who odżegnując from acute pain "Never again", the artist headed inevitably toward death… death because only allows completely zapomnieć.Ta obsesja brings Gauguin at the end of next year to attempt suicide. "With this shadow on the floor of my soul no longer raise any hands-NEVER MORE" writes Poe.Gauguin is odratowany on time, but in his paintings still uses dark colors: "Especially zanurzyłem all in dark colors and sad, it is not silk, aksamit no, no lawn or gold create a luxury, but only in the field przeobrażająca riches at the touch of the hand of the artist. "So pogrążona in despair Tahitanka through his relationship with the soul of the creator reveals to us a completely different, dark secrets. A rather allows us to believe that managed to explore its secret, as appears to us naked, in his ciemnoskórego abundance throughout the body, and we zgadujemy and wypowiadamy opening of its fears and desires. Tahitanka… is not so much healed, contrary to what one restored to life.… The mere fact that he was alive, is the source of its misfortune.… Even if the lights in Tahiti słońce.Najbardziej acquiring however, is that with the effort of our presumption, we are not in his diagnosis closer to the source of its afflictions than two obgadujących it in background image of women: "Your daughter is dead, so that even trudzisz Teacher?"…