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Digital copy: 738.8 kB 2536 × 3250 px • JPEG 74 × 92.5 cm • 87 dpi 42.9 × 55.0 cm • 150 dpi 21.5 × 27.5 cm • 300 dpi
Digital copy is a high resolution file, downloaded by the artist or artist's representative. The price also includes the right for a single reproduction of the artwork in digital or printed form.
Paul Gauguin's painting "Good Morning, Monsieur Gauguin!" was painted under the influence of the famous canvas by Gustave Courbet "The Meeting," which caused many jokes and epigrams and was nicknamed by critics "Good Morning, Monsieur Courbet! Gauguin saw this work in 1854 in Montpellier and created its ironic antipode, giving an entirely different answer to the theme of the relationship between the artist and the public, which was set by the author. Courbet's work is a eulogy to himself, a self-portrait with friends in a beautiful rural landscape
The development of the genre from antiquity to the present day: how did religion and the invention of oil painting contribute to the development of the genre in Europe, and why was the Hudson River so important? Read more
, where the stately, tall artist meets his meditator and admirer Brüillat, accompanied by a servant. The artist and the connoisseur talk about art on a sun-drenched cliff, which, like a pedestal for a monument, elevates them above the peaceful, idyllic landscape
The development of the genre from antiquity to the present day: how did religion and the invention of oil painting contribute to the development of the genre in Europe, and why was the Hudson River so important? Read more
. A very different picture is painted by Paul Gauguin. He also depicts himself in the background of the landscape
The development of the genre from antiquity to the present day: how did religion and the invention of oil painting contribute to the development of the genre in Europe, and why was the Hudson River so important? Read more
, but it's a completely different world. In the middle of a Breton backwater, under a dark sky with snowy clouds, the artist walks with his beret on his forehead and a long overcoat on his back. He meets a peasant woman in shapeless clothing, who, without slowing down, barely turns her head to look at the passerby. Both figures are buried in the road dirt, in the cold and uncomfortable surroundings of stunted grass, bushes, drifts and bare trees. Between the painter and the faceless female figure is a fence made of rods, a symbol of disconnection and misunderstanding. The artist shows that the encountered people do not care about each other, and the surrounding nature is extremely unfriendly to the two of them.