Paul Gauguin, Nevermore, 1897

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Paul Gauguin, Nevermore, 1897발음듣기

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(jazzy music) Female: We're standing here in the Courtauld Gallery in front of Paul Gauguin's Nevermore from 1897.발음듣기

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Male: This is one of the paintings that really lives up to our expectations of Gauguin, the classic story that he goes off to Tahiti.발음듣기

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This was painted during his second trip.발음듣기

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He's got a much more complex relationship with Tahiti than I think is often acknowledged.발음듣기

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Female: I just love the idea of Gauguin kind of going off to Tahiti with this idea that he would be finding an untouched civilization,발음듣기

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and people living freely and naturally without what he saw as sort of the ruining influence of modern society,발음듣기

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and he got there and it was much more developed and a tourist center, and that wasn't at all the case.발음듣기

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Then he sort of painted it that way anyway!발음듣기

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Male: That's true, and yes, he does paint it that way, but at the same time, this is in many ways a traditional French painting of a nude.발음듣기

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He's really sort of creating our expectations of a primitive society.발음듣기

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It's been roughly handled.발음듣기

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The colors evoke a sense of a pre-industrial culture.발음듣기

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There's some very radical ways in which he handles paint.발음듣기

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But at the same time, we have a full-length nude reaching across the canvas up on her hip, which in some ways is not so distinct from the ways that nudes have been handled in the Academy for many years.발음듣기

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Female: Right, but it's not a Venus.발음듣기

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Male: No.발음듣기

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Female: I do think there's something kind of ambiguous about the way the nude is portrayed, though, which may have something to do with that.발음듣기

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Typically, in your Academic nudes, the woman is very much kind of laid out for the viewer's pleasure.발음듣기

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You can look at her and she's fairly passive, and she's fairly exposed.발음듣기

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This woman, certainly with her face, is given a bit more independent presence.발음듣기

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She has this sidelong glance, perhaps looking back at the people in the background, whether they're talking about her or not.발음듣기

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There's a way that her right arm comes in front of her chest that suggests a kind of protecting of her body,발음듣기

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and the way that her left hand comes up about her face that draws our eye up to her head,발음듣기

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and her sense of her presence and independence in a way that is different than a kind of just the flirtatious typical nude that would have been in the Academy.발음듣기

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Male: It's true. In those cases you would not be able to read into her at all.발음듣기

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Here, she has clear intention.발음듣기

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She's thinking and we can see her thinking. We can see her reacting.발음듣기

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Female: And her head, the contrast with that bright yellow of the pillow right behind her head, too,발음듣기

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I think makes that a spot in the whole painting that really draws your attention very strongly;발음듣기

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more than, perhaps, other parts of her body which are contrasted against other dark areas of paint.발음듣기

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Male: There's really an interest in contour and a very, very strong, very dark contour, so much so that her left leg almost seems like an independent unit that's sort of been placed against her body.발음듣기

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Female: Look at all those curves; of the bed-frame or headboard in the back of the furniture that she's lying on, the curve of her back, the arabesques on the wallpaper.발음듣기

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There's a lot of flattening, decorative forms that I think for Gauguin are an effort to remove the figure from an everyday world and place her more in a dreamlike space.발음듣기

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When you mentioned the yellow, that very bright yellow, almost citron yellow, that her head is on,발음듣기

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it made me think that maybe what we're seeing is her dream, is her imaginings on this bed; not that we're looking at a real scene of a woman on a bed, but a kind of imaginary space.발음듣기

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Male: You'll notice that that yellow shows up only again in the clouds, so I think there's something to what you're saying.발음듣기

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At her feet there's a red that shows up again in the trees in the background.발음듣기

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Actually, that little bit of a trace of a landscape that we see through the window and through the doorway, does feel very much almost like an illustration for a children's book.발음듣기

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It feels very much like a fantasy, like a dream.발음듣기

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Female: It does have a very dreamlike quality.발음듣기

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I think this bird, this raven, which we assume is connected to the title of the painting,발음듣기

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Nevermore, from the Edgar Allan Poe poem, that bird is kind of done the same way.발음듣기

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There's a very flattened, decorative, sort of dreamlike quality to the bird as well,발음듣기

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almost as though it's kind of one of the pieces of patterning in the wall decoration in the background.발음듣기

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Male: There's something really psychological here, something very emotive,발음듣기

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and something that seem to be getting at a kind of reality that is below the surface, that sort of pulls away our expectations and pulls away even what's visible to us and seems to just try to evoke a kind of internal emotional state.발음듣기

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Female: Exactly; and her emotional state. (jazzy music)발음듣기

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