Gauguin

            Paul Gauguin is a Post-Impressionist painter who utilizes a discernible form of the avant-garde style. This technique can be broken down using Griselda Pollock’s formula for how to make a mark as an avant-garde artist, especially in Gauguin’s painting, The Yellow Christ. Pollock’s formula—using reference, deference, and difference—can be applied to this work to dissect how Gauguin fits the avant-garde criteria.

            First, Gauguin sets a foundation for his painting in referencing Christ on the cross. The crucified Christ has been represented countless times in paintings from history. He shows that he is aware of the traditions and conventions of the art world. This also promotes the notion that his work is relative, and therefore holds some significance.

            Next, Gauguin defers to the Impressionist movement in his painting, using relatively loose brushstrokes and having very simplified forms. For instance, the figure of Christ is depicted without individual fingers. He also uses colors that aren’t necessarily correct in terms of their realism. Such as Christ again, whose skin is shown as yellow.

            Lastly, the artist uses his color palette to evoke certain emotions. When I look at this painting, I feel a sense of warmth and comfort. It is not a gruesome scene of Christ. In fact, it looks as though he could be sleeping comfortably instead. The bright, warm colors contribute largely to this sensation because they radiate that feeling of calmness and maybe even happiness.