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Ultra-sauvage, ultra-moderne: Paul G...

Chung, Yeon Shim.

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Ultra-sauvage, ultra-moderne: Paul Gauguin's ceramics and sculpture (France).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Ultra-sauvage, ultra-moderne: Paul Gauguin's ceramics and sculpture (France)./
作者:	Chung, Yeon Shim.
面頁冊數:	523 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 3837.
Contained By:	Dissertation Abstracts International66-11A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3195430
ISBN:	0542402742

Ultra-sauvage, ultra-moderne: Paul Gauguin's ceramics and sculpture (France).
Chung, Yeon Shim.

Ultra-sauvage, ultra-moderne: Paul Gauguin's ceramics and sculpture (France). - 523 p.

Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 3837.

Thesis (Ph.D.)--New York University, 2005.

To study Gauguin's ceramics and sculpture is to rediscover the artist's use of the decorative, the exotic, and the grotesque within a general framework of his other work. These three terms are integrated into the discussion of each chapter when denoting Gauguin's originality in the creation of ceramics and wooden sculpture.

ISBN: 0542402742Subjects--Topical Terms:

635474
Art History.

Ultra-sauvage, ultra-moderne: Paul Gauguin's ceramics and sculpture (France).
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245 1 0 $a Ultra-sauvage, ultra-moderne: Paul Gauguin's ceramics and sculpture (France).
300 $a 523 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 3837.
500 $a Adviser: Linda Nochlin.
502 $a Thesis (Ph.D.)--New York University, 2005.
520 $a To study Gauguin's ceramics and sculpture is to rediscover the artist's use of the decorative, the exotic, and the grotesque within a general framework of his other work. These three terms are integrated into the discussion of each chapter when denoting Gauguin's originality in the creation of ceramics and wooden sculpture.
520 $a In Chapter One, the discussion centers on the matiere of the matte surface of his work and its cultural significance. The crude surface of Gauguin's ceramic work is closely related to the surface of mural-like decorative painting. An analysis of Gauguin's working process, his concept of materials, and his close attention to surfaces also provide historical background for the succeeding chapter on the subject of his "Grotesque Mask."
520 $a Chapter Two establishes theoretical issues and problems as well as a new method for approaching Gauguin's ceramics and sculpture. I also put forth my own critical response to Gauguin's visual language of the grotesque, the decorative, and the exotic. The purpose here is not to examine the historical development of the term "grotesque." Rather, the focus is on how Gauguin's grotesque images as depicted in his ceramics and wooden sculptures as well as in his portraits produced a new type of representation in a cultural context in which Darwinism and racial theories emerged.
520 $a The sensuous use of color, the creation of a faun as a symbolic self, and a group of wooden ultra-sauvage sculptures executed during Gauguin's first Tahitian sojourn are the focus of Chapter Three. It is demonstrated that Gauguin's primitivism in addition to his combination of idealist and anti-idealist attitudes played a major role in his use of color, texture, and form.
520 $a The final chapter looks at the bond between ceramics and wooden sculpture, and decorative paintings in relation to the decorative surface. Although the term "the decorative" in and of itself did not necessarily imply a particular significance, Gauguin strove to assign subjective meaning to the decorative. I also elaborate on Gauguin's formal and thematic indebtedness to adopted Western objects, and native curios, which were intended for European tourists at the end of the nineteenth century.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3195430