COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
DMA_.1985.R.31
amicoid
DMA_.1985.R.31
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Drawings and Watercolors
oty
Drawings and Watercolors
Object Type
false
Creator Name:
Luce, Maximilian
crn
Luce, Maximilian
Creator Name
false
Creator Name-CRT:
Maximilian Luce
crt
Maximilian Luce
Creator Name-CRT
false
Title:
The Thames at Vauxhall Bridge
otn
The Thames at Vauxhall Bridge
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
1892
oct
1892
Creation Date
false
Creation Start Date:
1892
ocs
1892
Creation Start Date
false
Creation End Date:
1892
oce
1892
Creation End Date
false
Materials and Techniques:
Charcoal, paper, wove
omd
Charcoal, paper, wove
Materials and Techniques
false
Dimensions:
Overall: 16 x 18 1/4 x 2 in. (40.64 x 46.35 x 5.08 cm.)
met
Overall: 16 x 18 1/4 x 2 in. (40.64 x 46.35 x 5.08 cm.)
Dimensions
false
AMICA Contributor:
Dallas Museum of Art
oon
Dallas Museum of Art
AMICA Contributor
false
Owner Location:
Dallas, Texas, USA
oop
Dallas, Texas, USA
Owner Location
false
ID Number:
1985.R.31
ooa
1985.R.31
ID Number
false
Credit Line:
Dallas Museum of Art, The Wendy and Emery Reves Collection
ooc
Dallas Museum of Art, The Wendy and Emery Reves Collection
Credit Line
false
Rights:
orl
<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>
Rights
false
Context:
If Paul Gauguin had produced no paintings, he would still be given a special place in the history of modern sculpture. Throughout his career, Gauguin created works in the most "primitive" or "direct" of sculptural materials: earth (ceramic) and vegetation (wood). In the first medium, he compared himself - as he often did in paintings - with God, molding human forms from the hearth. Of the surviving ceramic vessels (he likely made at least twice as many as are known today), this "portrait" vessel is among the most original and accomplished.The vase had traditionally been read as a portrait of Louise Schuffenecker, the wife of its first owner and the central focus of a famous group portrait of the Schuffenecker family painted in 1889 (Musée d'Orsay, Paris), the same year that this vessel was made. If this identification is true, Mme Schuffenecker has been transformed from the despondent bourgeois woman of the painting (she is literally swathed in clothes) to a pale nude, whose disembodied hand provocatively arranges the ribbon in her hair. Indeed, the frank sexuality of the ceramic woman is everywhere stressed by the artist. The head and upper torso rest confidently on her large, curved breasts; her ear is shaped as a faun's; and on the vessel itself Gauguin incised a long snake coiled in a tree. Clearly, this woman is a temptress, and Gauguin relates her to Eve, making overt associations between the ribbon in her hair and the serpent in the tree.The seemingly idiosyncratic design of a bust as a vase did not originate with Gauguin. The painter derived the idea from ancient Peruvian ceramics, particularly those of the Moche culture (c. A.D. 100 - 700). He knew these ceramics both from his own childhood in Peru and from the collection owned by his great-uncle Isidore, who raised him after the family returned from Peru to France. Yet, as is always true for great artists, the source is completely subsumed by Gauguin, who felt no need to be slavish or to "quote" from a single reference. While the form itself was created by Gauguin, the luscious glazing might have been done in the studio of, and possibly under the direct supervision of, the ceramicist Ernest Chaplet, with whom Gauguin, worked in the spring of 1889. The use of metallic, flowing, richly colored glazes makes this work as masterful as any produced in France during the late 1880s. There is little evidence in Gauguin's earlier ceramic production that he had this degree of skill."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 97
cxd
If Paul Gauguin had produced no paintings, he would still be given a special place in the history of modern sculpture. Throughout his career, Gauguin created works in the most "primitive" or "direct" of sculptural materials: earth (ceramic) and vegetation (wood). In the first medium, he compared himself - as he often did in paintings - with God, molding human forms from the hearth. Of the surviving ceramic vessels (he likely made at least twice as many as are known today), this "portrait" vessel is among the most original and accomplished.The vase had traditionally been read as a portrait of Louise Schuffenecker, the wife of its first owner and the central focus of a famous group portrait of the Schuffenecker family painted in 1889 (Musée d'Orsay, Paris), the same year that this vessel was made. If this identification is true, Mme Schuffenecker has been transformed from the despondent bourgeois woman of the painting (she is literally swathed in clothes) to a pale nude, whose disembodied hand provocatively arranges the ribbon in her hair. Indeed, the frank sexuality of the ceramic woman is everywhere stressed by the artist. The head and upper torso rest confidently on her large, curved breasts; her ear is shaped as a faun's; and on the vessel itself Gauguin incised a long snake coiled in a tree. Clearly, this woman is a temptress, and Gauguin relates her to Eve, making overt associations between the ribbon in her hair and the serpent in the tree.The seemingly idiosyncratic design of a bust as a vase did not originate with Gauguin. The painter derived the idea from ancient Peruvian ceramics, particularly those of the Moche culture (c. A.D. 100 - 700). He knew these ceramics both from his own childhood in Peru and from the collection owned by his great-uncle Isidore, who raised him after the family returned from Peru to France. Yet, as is always true for great artists, the source is completely subsumed by Gauguin, who felt no need to be slavish or to "quote" from a single reference. While the form itself was created by Gauguin, the luscious glazing might have been done in the studio of, and possibly under the direct supervision of, the ceramicist Ernest Chaplet, with whom Gauguin, worked in the spring of 1889. The use of metallic, flowing, richly colored glazes makes this work as masterful as any produced in France during the late 1880s. There is little evidence in Gauguin's earlier ceramic production that he had this degree of skill."Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 97
Context
false
Related Image Identifier Link:
DMA_.1985_R_31.tif
ril
DMA_.1985_R_31.tif
Related Image Identifier Link
false