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Europe 1800 - 1900
Course: Europe 1800 - 1900 > Unit 5
Lesson 4: Post-Impressionism- Introduction to Neo-Impressionism, Part I
- Introduction to Neo-Impressionism, Part II
- Neo-Impressionist Color Theory
- Seurat, Bathers at Asnières
- Seurat, A Sunday on La Grande Jatte
- Seurat, “A Sunday Afternoon on the Island of La Grande Jatte – 1884”
- Van Gogh, Self-Portrait Dedicated to Paul Gauguin
- Think you know van Gogh? The Potato Eaters
- Van Gogh, Self-Portrait with Bandaged Ear
- Van Gogh, The Bedroom
- Van Gogh's Irises: Getty Conversations
- Van Gogh, The Starry Night
- Van Gogh, The Starry Night
- The Pont-Aven School and Synthetism
- Paul Gauguin, Self-Portrait with Portrait of Émile Bernard (Les misérables)
- Paul Gauguin, Vision after the Sermon, or Jacob Wrestling with the Angel
- Gauguin, Nevermore
- Gauguin, The Red Cow
- Gauguin, Spirit of the Dead Watching
- Gauguin, Oviri
- Gauguin, Where do we come from? What are we? Where are we going?
- Gauguin and Laval in Martinique
- An introduction to the painting of Paul Cézanne
- Why Is This Woman in the Jungle?
- Cézanne, The Bather
- Cézanne, The Basket of Apples
- Cézanne, Still Life with Plaster Cupid
- Cézanne, Still Life with Plaster Cupid
- Cézanne, The Red Rock
- Cézanne, Still Life with Apples
- Cézanne, Turning Road at Montgeroult
- Cézanne, Mont Sainte-Victoire
- Cézanne, Mont Sainte-Victoire
- Cezanne, Card Players
- Cézanne, Bathers
- Cezanne, The Large Bathers
- Toulouse-Lautrec, At the Moulin Rouge
- Post-Impressionism
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Gauguin, The Red Cow
Paul Gauguin, The Red Cow, 1889, oil on canvas (LACMA) Note: Despite my saying that the cypress trees suggest this canvas may have been painted in the south, it was painted in Le Pouldu near Pont-Aven in Brittany (SZ). Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- Perhaps it is because of the loose brush-strokes or that the painting does not have great resolution in the video, but I see a human head in the tallest tree to the left and a brownish lion's head (demon?) in profile facing left in the tree grouping on the right. Anyone else?(1 vote)
- Seeing human faces and animals in abstract forms is common—think of children finding faces and animals in clouds. The human mind seems to have a strong desire to resolve the unformed into the familiar.(2 votes)
- Is the woman in this painting Asian?(0 votes)
- The post-impressionists did get their inspiration from Japanese art. Maybe he drew a French woman using those techniques.(4 votes)
- what time of the day does this take place?(1 vote)
Video transcript
(upbeat piano music) Male voiceover: We're at the
Los Angeles County Museum of Art and we're looking at a
painting by Paul Gauguin, The Red Cow from 1889. It's a really wild painting. Female voiceover: It is a wild painting. There is a woman in the
left corner with a jug Male voiceover: Very near. Female voiceover: Right,
at the very fore-end . She's moving toward the left
edge of the image of the frame and she's cut off. Male voiceover: Is moving
the opposite direction. Female voiceover: His head is cut off. Male voiceover: She's
moving off to the left and our attention looks to her first, but then she's sort of moving off stage in a very distracting kind of way. Then, the cow is also presumably
moving slightly to the right. There's a small dog that seems to be ... Female voiceover: Kind of chasing it. Male voiceover: ... chasing the cow. Female voiceover: Then,
there's a kind of fence and a hedge behind them, flocking
them into the foreground. Male voiceover: Right, which
has it's own careful attention. There's a wonderful kind
of contrast of color between the orange pink red of the cow ... Female voiceover: Cow and the green grass. Male voiceover: ... and
the brilliant green. Then, in the foreground,
all the colors of the cow can be seen in the flowers, which are really delicately
painted for a Gauguin. Female voiceover: Really delicate, yeah. Male voiceover: Very unusual. Again, are in the bodice of the woman
who is bending forward towards us, Female voiceover: The orange again. Male voiceover: Yeah, holding that
pitcher and her eyes are delicately ... Female voiceover: Then, those
lovely purples against the orange. Male voiceover: They're gorgeous. Female voiceover: He's so thinking
about complementary colors here. Male voiceover: Yeah, he is. It's so obvious. Male voiceover: He really is. There's a lot of drawing in here. I mean, look at the delicacy
of the light on her face as she bends down and the
shadow and reflected color. Female voiceover: It's
interesting that you say light, because in some ways there's
light in this painting and in some ways there isn't, to me. It's not atmospheric at all. Male voiceover: That's true. This is not the light of the
impressionist, not at all. Female voiceover: No. There is light and you can sort of say, there
is sunlight in this landscape and there is sunlight hitting the face ... Male voiceover: And shadows as well. Female voiceover: ... and shadow. But, there's no sense of atmosphere. Male voiceover: What happens
is, the light seems to be located, almost the way the color is, as a pooled area that is not necessarily
a result of clouds and sun ... Female voiceover: No. Male voiceover: ... but seems to
almost generate from the object itself. Female voiceover: The
forms themselves, yeah. Male voiceover: It's almost in
a kind of pre-renaissance style. Female voiceover: Right. Male voiceover: In that light is ... Female voiceover: Whether or
not they knew about the way
that light actually looks yet. Yeah, it reflects and moves. Male voiceover: That's right. Female voiceover: He's clearly
trying to transcend, I think, those kinds of naturalist effects, to say something a little bit more serious and a little bit more spiritual
and a little bit more meaningful. Male voiceover: I think the spiritual
is absolutely intentional here. I think he's running into some problems, because the subject itself
is so aestheticized, it's so laden with the
tradition of the landscape. Female voiceover: Yeah. Male voiceover: You've got this really
beautiful kind of aesthetic quality. If you look at the field just
beyond the fence, the middle ground, you have this very light pool of
light green and purple and orange. Female voiceover: Greens and oranges
and those fabulous [unintelligible]. Male voiceover: They really are. It's almost a wash, as if
it was a kind of watercolor. Male voiceover: Of course
there are two men there. Female voiceover: Very
thinly kind of applied. Male voiceover: Two farm workers,
it looks like they're just ... Female voiceover: Tilling
the field with a scythe. Male voiceover: With a scythe, yeah. Then above that, these
very elegant Cypress trees. Which makes me think
that this might be ... Female voiceover: The clouds. Male voiceover: ... when he's
down in the South of France. Female voiceover: But you know, the
latest trees become very abstracted, these just vertical
forms and then the clouds are also just these very simple shapes. Again, really nothing atmospheric
about the clouds in the sky and the flat blue color of the sky. There is something very
kind of transcendent ... Male voiceover: It's true. Female voiceover: ... about
landscape, that conflicts for me. Maybe this is sort of
what he was going for. Male voiceover: Specificity of the ... Female voiceover: The sort of everydayness
of the scene in the foreground, with the woman in the picture, which sort of reminds me
of Vermeer, and the cow. Then, this landscape that
is somehow kind of magical. Male voiceover: We see that
division in Gauguin's work. If you think about Jacob
wrestling with an angel, ... Female voiceover: Exactly. Male voiceover: You have that very
clear division by the bough of the tree, where you have the spiritual
displaced from the physical, the actual [unintelligible] of
the space, which we inhabit. We're a part of that ... the area
that's on this side of the fence. Female voiceover: He's clearly
divided these two areas. Male voiceover: Yeah, he has. It's a pretty wonderful painting. Female voiceover: Yeah. (upbeat piano music)