As is well known, Paul Gauguin and Vincent Van Gogh lived together for a disastrous three months. Among the many disagreements they had was the question of depicting iconographic images. For Van Gogh, a Protestant, that was anathema. For Gauguin, who was Jesuit educated, it was essential. Although he was fleeting in his practice of Catholicism (he embraced Buddhism and Theosophy as well), the iconography Gauguin had been exposed to was in his DNA. As many will sophistically point out, Gauguin was hardly a model of morality, but much of the negativity about him is exaggerated and/or downright myth (i.e. he left his job, wife and children to go paint. Actually, the stock market crashed and he lost his job, after which his wife, being used to a more substantial income, kicked him out). Still, ultimately, Gauguin was an aesthetic Catholic and, for a painter that is perfect. There have been several superb books and articles on the religious art of Gauguin, who, for me, with El Greco, is the most essential of Catholic painters.
Christmas Night 1902
Self-Portrait with Yellow Christ 1891
Self-Portrait with Yellow Christ 1891
Adam and Eve, Expulsion from Paradise 1889
Breton Calvary 1898
Breton Woman In Prayer 1894
Eve, Don’t Listen to the Liar 1889
Hail Mary 1891
Joan Of Arc 1889
Month of Maria 1899
Nativity 1896
Self Portrait with Halo 1889
Tahitian Eve 1892
Tahitian Eve 1892
Eve 1892
Eve- The Nightmare 1892
The Day of God 1895
The Day of the God, 1894
The Encounter 1892
The Green Christ 1889
The House of Hymns 1892
The Universe is Created, 1894
The Yellow Christ 1889
Vision After the Sermon 1888
Le Paradis Perdu 1890
Where do we come from? What are we? Where are we going? 1897
The Nativity 1896
Tahitian Nativity 1896
We Hail Thee Mary 1891