大師就是大師，色彩豪放、筆觸細膩

保羅·高更

Paul Gauguin（1848—1903）

後期印象畫派代表人物，陶藝家 雕塑家及版畫家 「我立於深淵旁,但卻不跌入其中」，與梵谷、塞尚並稱後印象派三大巨匠。各自走上自己獨立的人生和藝術道路，高更厭倦歐洲文明和工業化的社會，對傳統藝術的優美典雅也相當反感，嚮往原始和自然的生活，希望在原始民族 東方藝術。

和黑人藝術中，尋找一種單純率真的畫風，創造出既有原始神秘意味，又有象徵意義的藝術。他把繪畫的本質看作是，某種獨立於自然之外的東西。當成記憶中經驗的一種創造，而不是一般所認為的那種，通過反覆寫生而直接獲得，知覺經驗中的東西。

Clearing

In the forest Saint Cloud II

In the forest Saint Cloud

The Forest Path

Working the land

Tree in the farm yard

Cail Factories and Quai of Grenelle

Chicken Coop

Landscape with Poplars

Mette asleep on a sofa

Pears and grapes

Port de Grenelle

The Seine at the Pont d'Iena

The Seine in Paris

The Seine opposite the wharf de passy

The Seine, Pont d'Iena, Snowing

1876

Bouquet of Peonies on a Musical Score

China Asters, Hat and Book

Daisies and peonies in blue vase

Man with a Toque

Port de Javel

Still life with oysters

Still life with red mullet and jug

Autumn Landscape (Farm and pond)

The embroiderer or Mette Gauguin

Apple-Trees in Blossom

Geese on the farm

Riverside (Breton landscape)

Snow at Vaugirard

The market gardens of Vaugirard

Vaugirard church

Winter Landscape

Clay jug and irin mug

Flowers and carpet (Pansies)

Houses at Vaugirard

Mandolin on a chair

Still life with fruit plate

To Make a Bouquet

Banks of the Oise

Corner of the garden rue Carsal

Flowers and carpet

Interior of the Painter』s House, rue Carcel

Party wall

Pissarro』s Garden, Pontoise

Pond with Ducks (Girl Amusing Herself)

River bank in winter

Still life with Oranges

The Queen』s Mill

Young Girl Dreaming (Study of a Child Asleep)

Bouquet of Sunflowers

1882年，以12件油畫與粉彩畫，1件胸像雕刻，參加第七屆印象派畫展。

At the Window

Aube the Sculptor and His Son

Blue Barge

Flowers and Japanese book

Gratte roosters path

Mountain landscape

Quarries at Pontoise

1883年1月，在自己繪畫天賦召喚之下辭去股票經紀公司的工作投身繪畫創作，每天作畫曾團結一批未成熟的青年畫家組成蓬塔旺畫派。

Aline Gauguin and one of her brothers

Double portrait of a young girl (Mademoiselle Lafuite)

Farm in Osny

Garden In Rue Carcel

Harbour Scene, Dieppe

Ingeborg Thaulow

高更的早期繪畫，帶有實驗性，也很拘謹，令人聯想起在巴比松畫派（Barbizon School）影向下畢沙羅的作品。色彩略見後來發展的跡象，但仍很拘謹。他把顏色做塊面處理，自由地加重色澤的明亮感：例如以鮮亮的藍色畫陰影，以紅色畫屋頂，而使之自背景中突出.

Near Rouen

Normandy Landscape-Cow in a Meadow

Notre Dame des Agnes

Orchard under the Church of Bihorel (Children in the Pasture)

Osny, the gate of Busagny farm

Portrait of a seated man

轉載於國際藝術大觀

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