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1st Art Gallery offers the option to receive your painting ready to hang or rolled in a tube.
Currently, for safety, we're able to ship framed paintings only up to a certain size. Once the maximum size is reached, the framing option is automatically disabled.
However, if you are interested in stretching or framing a painting larger than 24x36 inches (60x90 cm), please contact one of our customer success associates or let us know in your order notes. We will send you a catalog of our large framing styles and pricing options.
Unframed rolled canvas orders will arrive rolled inside a protective tube with an extra 1.5" white canvas on all sides so you can easily frame it locally.
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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If you have any request to alter your reproduction of Arearea Aka Joyousness, you must email us after placing your order and we'll have an artist contact you. If you have another image of Arearea Aka Joyousness that you would like the artist to work from, please include it as an attachment. Otherwise, we will reproduce the above image for you exactly as it is.
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