| Researches on Gauguin, the origin and the representative of the post-impressionist art are numerous, but most of these studies neglected Gauguin as a sculptor, and no research ever render a systematic analysis on Gauguin's sculpture and paintings between his pre and post period. This article takes Gauguin as a graphic artist, also re-position him as a sculptor, and Gauguin's sculptures and paintings were contacted, which finds that sculptures have played a role in the changing of pre and post paintings which cannot be ignored. The article includes four parts:the first part focuses on the formation of Gauguin's early painting style, and the guidance of impressionist painters to Gauguin. In this period, as the prelude leading to Gauguin's own painting career, eventually under Pissarro's guidance, Gauguin began to try to break the shackles of Impressionism. Gauguin went to Brittany for the first time in 1886. Although his experience gained plenty of creative development, Gauguin still belongs to Impressionism. In 1887, Gauguin found the initial original attempt in Martinique and finally broke with the Impressionists. His works were no longer rigidly adhere to the performance of the changing natural effect, but to pursue the ideological depth of the screen, which explored foreshadowing for his own symbolism. Gauguin returned to Brittany in the next year, under the impact by Burnett, begun to use "cloisonne" method, and integrated various elements into his own style, developed the more typical characteristic "comprehensive doctrine". In this period, his works have no longer pursued the depth of space, but to work for the symbolic, mystical and religious dominance in order to emphasize the spirit of the work. At this point, Gauguin's aesthetics have become mature. The second part focused on Gauguin's mature works. We would find that the subjective intention of becoming more free and unrestrained. The painter thoroughly became a master of his art. Although in this period Gauguin considered his paintings without the full recognition, he resolutely walked to his own intention to the world, discovered Tahiti's primitive atmosphere, and became a real barbarian. Reproduce the tone through the bright yellow on the screen in order to increase the tension and mystery, but it seems can not reach the heart of Gauguin Tahiti fanaticism. He added a lot of Tahitian Idols to his later painting, which exposed the mysterious and symbolic of Tahiti. The emergence of Tahitian Idol in later paintings became a sign of Gauguin's mysterious original painting. Therefore, it is improper to ignored Tahitian Idol when studying later paintings of Gauguin and comparing his pre and post paintings. So the third part of the article analyzed many factors which result in the change between Gauguin's pre and post painting styles from internal and external causes; and in the fourth part, from the images ethnographic study of Gauguin's Tahitian Idol, Idol with a shell, and the analysis of features idols of development and change, Gauguin made idols of the subjective transformation to merge into his own style, and ultimately made the idols an important elements of his painting. Therefore, on the study in Gauguin's art history, studying the links between Tahiti painting and the idols, and the role of the idol in the change of his pre and post painting has a great significance. Although Gauguin Tahitian Idol is not the only factor in the change of Gauguin's art style, but as a key factor and also an important factor must not be. So if we do not render a comprehensive analysis to Gauguin's Tahitian Idol sculpture, particularly those in Gauguin to Tahiti, the first in Tahiti, Gauguin painting icons, we probably can not accurate understanding of Gauguin's primitivism and essentially difference of Gauguin's pre and post paintings. |
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