高更的英文介绍

保罗·高更是法国后印象派画家、雕塑家、陶艺家及版画家。其理论和实践影响了一大批画家，被誉为继印象主义之后在法国画坛上产生重要影响的艺术革新者。下面小编为大家整理的高更的英文介绍，希望对大家有用!

高更的英文介绍

Eugène Henri Paul Gauguin was a leading French Post-Impressionist artist. He was an important figure in the Symbolist movement as a painter, sculptor, print-maker, ceramist, and writer. His bold experimentation with colouring led directly to the Synthetist style of modern art while his expression of the inherent meaning of the subjects in his paintings, under the influence of the cloisonnist style, paved the way to Primitivism and the return to the pastoral. He was also an influential proponent of wood engraving and woodcuts as art forms.

Paul Gauguin was born in Paris, France to journalist Clovis Gauguin and Alina Maria Chazal, daughter of the half-Peruvian proto-socialist leader Flora Tristan, a feminist precursor. In 1851 the family left Paris for Peru, motivated by the political climate of the period. Clovis died on the voyage, leaving three-year old Paul, his mother and sister to fend for themselves. They lived for four years in Lima with Paul’s uncle and his family. The imagery of Peru would later influence Gauguin in his art.

Gauguin began painting in his free time. He also visited galleries frequently and purchased work by emerging artists. Gauguin formed a friendship with artist Camille Pissarro, who introduced him to various other artists. As he progressed in his art, Gauguin rented a studio, and showed paintings in Impressionist exhibitions held in 1881 and 1882. Over two summer holidays, he painted with Pissarro and occasionally Paul Cézanne.

Gauguin is considered a Post-Impressionist painter. His bold, colorful and design oriented paintings significantly influenced Modern art. Gauguin’s influence on artists and movements in the early 20th century include Vincent van Gogh, Henri Matisse, Pablo Picasso, Georges Braque, André Derain, Fauvism, Cubism and Orphism, among others. Later he influenced Arthur Frank Mathews and the American Arts and Crafts Movement.

他的艺术观点受象征主义观念驱使，不满足印象主义绘画。1897年创作的《我们从哪里来?我们是谁?我们往哪里去?》用梦幻的形式把读者引入似真非真的时空延续之中，就是这方面的典型之作。另一幅作品《两个塔希提妇女》追求表现的原始性，含有精致的趣味和艺术魅力。

高更的早期绘画，带有实验性，也很拘谨，令人联想起在巴比松画派(Barbizon School)影向下毕沙罗的作品。1880 年代早期，高更将笔触放松、变宽，赋予画面颤动的韵律特质，色彩略见后来发展的迹象，但仍很拘谨。他把颜色做块面处理，自由地加重色泽的明亮感：例如以鲜亮的蓝色画阴影，以红色画屋顶，而使之自背景中突出。高更在技法上采用色彩平涂，注重和谐而不强调对比，《讲道以后的幻景》就是这种艺术处理的代表作。他的绘画风格与印象主义迥然不同，强烈的轮廓线以及用主观化色彩表现经过概括和简化了的形体，都服从于几何形图案，从而取得音乐性、节奏感和装饰效果。