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Arearea Aka Joyousness. The painting by Paul Gauguin

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    Gallery Wrap Rolled Canvas

    The artist will add 3 inches (7.5 cm) of extra paint “bleed” to every 4 sides of the canvas. There will still be 1.5 inches (4 cm) of white canvas around all 4 sides of the canvas.

    Stretched
    $271.99
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    W: 3.0 cm
  • R2018-218A
    $393.85
    R2018-218A
    W: 2.5 cm
  • R4613-236
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    W: 3.0 cm
  • R5130-204
    $487.26
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    W: 6.5 cm
  • R6035-220
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  • R40-006
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    W: 4.5 cm
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    R75-001
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  • R6929-302
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    R6929-302
    W: 6.5 cm
  • R4827-234
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    R4827-234
    W: 6.5 cm
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    R3013-236
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  • R6731-226
    $545.64
    R6731-226
    W: 7.0 cm
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    W: 7.0 cm
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    R2833-204
    W: 4.0 cm
  • R7034-296
    $545.64
    R7034-296
    W: 6.5 cm
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    $417.16
    R1823-204
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    $405.56
    R50-005
    W: 4.6 cm
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    R65-003-1
    W: 5.0 cm
  • R4827-414A
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    R4827-414A
    W: 5.5 cm
  • R8645-298
    $662.39
    R8645-298
    W: 6.5 cm
  • R4827-224
    $463.93
    R4827-224
    W: 6.5 cm

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Arearea Aka Joyousness

Paul Gauguin’s First and Second Tahitian periods are, with reason, considered to be the high points of his relatively short painting career, for different reasons. During the First Tahitian period, he was more experimental with his work, developing his Post-Impressionist Primitivist style after years in France trying to find a soul for his art. The Second Tahitian period, in turn, is marked by an already established visual style and reserves more effort in the search for a new symbolic language. Criticism of Gauguin’s work, then, bears the complication of it being difficult to separate the periods since much of his First-period work happened after his return to Paris from his first trip to Tahiti.

Perhaps because of that it is common for that criticism to judge works from the first period with the gavel employed for the Second, meaning that often critics look at details in paintings from the first period and wonder about hidden symbology in minor details, ignoring that sometimes a cigar is just a cigar, especially when the artist is preoccupied with a new visual language. As such, this oil on canvas, finished in 1892, during the First Tahitian period, and currently on a show at the Musée d’Orsay in Paris, has been thoroughly scrutinized for its symbolism.

In the optic focus of the piece, two women sit, dressed in native Polynesian clothes, the left one, her chest uncovered, seems to play some kind of flute, while her partner looks at the artist. In the background, a small Maori statue has been enlarged to the scale of the Buddhas of Borobudur, and a religious ritual has been invented, with women dancing and praying around it. In the foreground, a red dog sniffs around the ground, seeming so incongruous with the environment that art critics tend to concoct all types of symbolic meanings for it.

More important than the meaning of a red dog in Tahiti is the visual language Gauguin was developing here. The solid fields of color, the unnatural palette to portray nature from the artist’s sensorial standpoint, the composition featuring strong diagonals and organic lines that lead the eye of the observer. Sadly for the artist, his innovative language was not as well received in Paris as he had hoped, which influenced his decision to return to Tahiti once more, for the second and definitive time.

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Item Number: 8239938

Arearea Aka Joyousness

Paul Gauguin
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Get hand painted museum quality reproduction of "Arearea Aka Joyousness" by Paul Gauguin. The Reproduction will be hand painted by one of our talented artist. "Arearea Aka Joyousness" by Paul Gauguin Reproduction will come with Free Certificate of Authenticity that verifies the authenticity of the hand painted fine art reproduction you purchased.

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Arearea Aka Joyousness

Paul Gauguin

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