After Gauguin

Two fashion shoots with the exotic taste of Gauguin

“All her traits combined in a Raphaelesque harmony by the meeting of curves. Her mouth had been modeled by a sculptor who knew how to put into a single mobile line a mingling of all joy and all suffering.

I worked in haste and passionately, for I knew that the consent had not yet been definitely gained. I trembled to read certain things in these large eyes–fear and the desire for the unknown, the melancholy of bitter experience which lies at the root of all pleasure, the involuntary and sovereign feeling of being mistress of herself. Such creatures seem to submit to us when they give themselves to us; yet it is only to themselves”

Extract from Noa Noa by Paul Gauguin

1. Peter Lindbergh shoots Naomi Cambell for Harper’s Bazaar, 1992

Peter Lindbergh naomi campbell in harpers bazaar 2 Peter Lindbergh naomi campbell in harpers bazaar 1992 3  Peter Lindbergh2 Peter Lindbergh3

2. Arthur Elgort shoots Liya Kebede for Vogue

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A Day of No Gods

Susie and Friends. Alex Prager. 2008

Susie and Friends. Alex Prager. 2008

Reclining Tahitian Women. Paul Gauguin. 1894

Reclining Tahitian Women. Paul Gauguin. 1894

A Day of No Gods. Paul Gauguin. 1894

The Day of the Gods. Paul Gauguin. 1894


Auti Te Pape

Noa Noa Te Pape. Paul Gauguin. 1894-95.

Auti te Pape (Women at the River) from Noa Noa (Fragrant Scent) Series. Paul Gauguin. 1893-94. Woodcut.


Arearea

Arearea (joyfulness). Paul Gauguin. 1982.

Arearea (Joyousness). Paul Gauguin. 1892.


Still Life with Japanese Woodcut

Nature Morte à L'estampe Japonaise. Paul Gauguin.

Nature Morte à L’estampe Japonaise. Paul Gauguin. 1889.


La Perte de Pucelage

La Perte de Pucelage (The Loss of Virginity). Paul Gauguin. 1890-91.

La Perte de Pucelage (The Loss of Virginity). Paul Gauguin. 1890-91.

The Loss of Virginity relates a young girl’s sexual awakening to the natural landscape. Gauguin referred to the fox – a recurrent motif in his work – as the ‘Indian symbol of perversity’, though Breton folklore also identifies it with sexual power. The crowd of figures in the background may be a wedding party coming to meet the deflowered girl. Although painted in Paris at a time when Gauguin was closely involved with Symbolist writers and critics, the landscape is recognisable from other works that he made in Brittany. The model was Juliette Huet, a seamstress. She was two months pregnant at the time, and gave birth to their daughter Germaine while Gauguin was in Tahiti.

Text from Tate


The Meal

The Meal

The Meal. Paul Gauguin. 1891.