DOI Artikel:
Danielewicz, Iwona: The Collection of Gabriela Zapolska
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18947#0131
2. Vincent van Gogh,
ies Alycamps in Arles,
1888, Courtesy of
łhe Rijksmuseum
of Kioller-Muller,
Otterlo
work is unknown." Several works of sculpture, as well as paintings and
drawings, were deposited by the artist in 1890 in the aforementioned Boussod
& Valadon Gallery, among which was the painting Zapolska later had in her
collection. Gauguin attached particular importance to his works of sculpture;
in appraising the works he deposited in the gallery, he gave his sculptures the
highest prices. The second sculpture by Gauguin, known from the catalogue
of the Cracow exhibition, was entitled Idolatry. The closest analogy can be
found with the series of wood sculptures called Idols which the artist brought
back from Tahiti and exhibited publicly in 1893 at the Durand-Ruel Gallery.
Among them were six Idols, or Tiis in Tahitian, which were related to
Polynesian mythology. Gauguin became convinced after his arrival in Tahiti
that there had existed in previous eras a kind of religious art which had not
been preserved. From his correspondence as well as the book Noa-Noa, we
known that the artist tried to discover this forgotten style. Thus the sculptures
from his first Tahitian period have the form of cylindrical blocks of wood, most
often with bas-relief decoration; only one idol has a three dimensional shape.
His sculptures from this period have only Tahitian features, and the convention
of representation derives morę from Far Eastern art.57 58
57 Charles Gray, The Sculpture and Ceramics of Paul Gauguin, Baltimore 1963, p. 207; The Art
ofPaul Gauguin, op. cit., p. 191.
58 The Art ofPaul Gauguin, op. cit., p. 215
125
ies Alycamps in Arles,
1888, Courtesy of
łhe Rijksmuseum
of Kioller-Muller,
Otterlo
work is unknown." Several works of sculpture, as well as paintings and
drawings, were deposited by the artist in 1890 in the aforementioned Boussod
& Valadon Gallery, among which was the painting Zapolska later had in her
collection. Gauguin attached particular importance to his works of sculpture;
in appraising the works he deposited in the gallery, he gave his sculptures the
highest prices. The second sculpture by Gauguin, known from the catalogue
of the Cracow exhibition, was entitled Idolatry. The closest analogy can be
found with the series of wood sculptures called Idols which the artist brought
back from Tahiti and exhibited publicly in 1893 at the Durand-Ruel Gallery.
Among them were six Idols, or Tiis in Tahitian, which were related to
Polynesian mythology. Gauguin became convinced after his arrival in Tahiti
that there had existed in previous eras a kind of religious art which had not
been preserved. From his correspondence as well as the book Noa-Noa, we
known that the artist tried to discover this forgotten style. Thus the sculptures
from his first Tahitian period have the form of cylindrical blocks of wood, most
often with bas-relief decoration; only one idol has a three dimensional shape.
His sculptures from this period have only Tahitian features, and the convention
of representation derives morę from Far Eastern art.57 58
57 Charles Gray, The Sculpture and Ceramics of Paul Gauguin, Baltimore 1963, p. 207; The Art
ofPaul Gauguin, op. cit., p. 191.
58 The Art ofPaul Gauguin, op. cit., p. 215
125