Paul Gauguin painted Vairumati on his second visit to Tahiti in 1897.
The artist painted on hessian cloth
This rough, uneven fabric had already been used by the artist in Arles and Tahiti.
It suited his aesthetic interests.
The preparation of the canvas - probably a mixture of animal glue, oil and binder -
was applied by the artist himself.
The drawing is a blue-green outline applied with a brush.
He has gone over his first drawing very lightly
so beneath the transparent surface we can see the preparatory drawing outlining the composition's shapes.
Gauguin then painted the golden body of Vairumati and, with light juxtaposed touches, the tree leaves.
The colours make plain the canvas texture.
The saturated red, yellow and blue palette,
often used by the artist, seems to be composed of vermilion, cadmium, ochre, different blues, and lacqeur.
He wanted beautiful, quality colours and sometimes complained that he was sent colours
that were not as luminous or well-made as he would have liked
The layer of paint is fairly thin:
as he explained in a letter, Gauguin avoided painting in thick layers,
so they dried more quickly in Tahiti's humid climate.
The artist wanted to keep the mat, raw material to magnify his palette and technique.
He advised against varnish
and recommended adding wax to solvents, applied with a cloth, to protect paintings.
We realised there were successive layers of varnish,
so we decided to completely remove the canvas varnish.
Gauguin painted instinctively,
without a preparatory drawing, and changed the shapes and coloured areas.
The artist borrowed from his large composition Where Do We Come From? What Are We? Where Are We Going?
key elements of his Vairumati painting:
the young woman's pose and the white bird, a "lizard killer",
symbol of the vanity of empty words.
On closer inspection, we realised there was relatively little superposition,
that he produced the work fairly quickly,
and that he rarely changed colours, which he chose after these initial stages.
We can see a clearly outlined rectangle on this canvas undergoing conservation work.
This is a "window" area,
used by the conservator for reference when they clean the painting and level the varnish.
Radiography and infrared reflectography reveal how originally
the legs of the two sisters in the background were bent.
The young woman wore a long emerald green and golden yellow loincloth.
The artist had made her face look younger.
These changes bring the figures of Vairumati closer to the one painted in
Where Do We Come From? What Are We? Where Are We Going?
Gauguin may have wished, in order to present his work in Paris,
to bring this painting closer to his monumental fresco, by making it the fragment of a large work,
or a musical variation.
For more infomation >> İyiki de ögrenmişim diyeceginiz 6 basit yöntem - Duration: 7:49. 
For more infomation >> Au coeur de l'évènement Google à Nancy - Duration: 3:09. 
For more infomation >> [#CDL] Les Conseils du Lundi #11 : après la soutenance de thèse, prendre des vacances - Duration: 2:03. 
For more infomation >> Sorteo experiencia de MotoGP con el equipo Estrella Galicia 0,0 y Blinker. - Duration: 1:10. 
For more infomation >> LEGEND HUNTERS! 300 Subscribers Special [EN-US] - Duration: 21:02. 
Không có nhận xét nào:
Đăng nhận xét