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Paul Gauguin (1848-1903) came late to painting, after two previous careers, first as a seaman, then as a stockbrocker. A romantic, a primitive, a symbolist, a born rebel and flamboyant personality, he stands at the crossroads of modern painting, summing up in his life's work the crucial transition from Impressionism to abstraction. He had no art school training. What we did have was an idea and a dream. His genius is usually considered in terms of his painting. This book offers the rare treat of a selection of watercolors, gouaches, pastels, pen-and-ink and charcoal drawings, monotypes, zincograph and woodcuts, together with pages from "Noa Noa", Gauguin's illustrated account of his stay in Tahiti. In many ways these works are more revealing than his paintings, as they allowed the artist a spontaneity and intimacy that painting, by the very nature of his technique, could not. -- From publisher's description.
Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris examines a history of contact between modern Europe and East Asia through three collectors: Henri Cernuschi, Emile Guimet, and Edmond de Goncourt. Drawing on a wealth of material including European travelogues of the East and Asian reports of the West, Ting Chang explores the politics of mobility and cross-cultural encounter in the nineteenth century. This book takes a new approach to museum studies and institutional critique by highlighting what is missing from the existing scholarship -- the foreign labors, social relations, and somatic experiences of travel that are constitutive of museums yet left out of their histories. The author explores how global trade and monetary theory shaped Cernuschi's collection of archaic Chinese bronze. Exchange systems, both material and immaterial, determined Guimet's museum of religious objects and Goncourt's private collection of Asian art. Bronze, porcelain, and prints articulated the shifting relations and frameworks of understanding between France, Japan, and China in a time of profound transformation. Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris thus looks at what Asian art was imagined to do for Europe. This book will be of interest to scholars and students interested in art history, travel imagery, museum studies, cross-cultural encounters, and modern transnational histories.