愉悦的土地 - 美国大都会艺术博物馆展品查阅

品名（中）	愉悦的土地
品名（英）	Delightful Land
入馆年号	1936年，36.6.4
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Paul Gauguin【1848 至 1903】【法国人】
创作年份	公元 1893 - 公元 1894
创作地区
分类	印刷品（Prints）
尺寸	13 3/4 x 8 英寸 (34.9 x 20.3 厘米) block 18 3/4 x 10 11/16 英寸 (47.6 x 27.2 厘米) paper
介绍（中）	1893-94年，高更在巴黎度过了大部分时间，为Noa-Noa（香水）创作文字和插图。该项目一开始是一种叙事，旨在引导不理解的公众了解高更对塔希提岛的个人和艺术认知，但最终变得比他在南海创作的任何作品都更加复杂和神秘。高更设计的十幅木版版画作为插图，与他浪漫化的自传体文本几乎没有关系。它们似乎也没有遵循任何特定的顺序。然而，版画中的爱与恐惧、创造与死亡、白天与夜晚的意象和主题与高更的塔希提绘画密切相关 1894年12月，在高更的工作室展览上，包括德加、评论家朱利安·勒克莱尔和查尔斯·莫里斯在内的一群朋友和崇拜者首次看到了诺亚木刻。勒克莱尔和莫里斯热情回应。他们将粗糙雕刻的木刻作品视为"版画艺术的革命"，并将其视为高更绘画和雕塑看似截然不同的品质之间的"桥梁"。
介绍（英）	Gauguin spent much of his time in Paris in 1893–94 working on the text and illustrations for Noa Noa (Fragrance). The project began as a narrative to guide an uncomprehending public through Gauguin's personal and artistic perceptions of Tahiti, but ultimately became more complex and mysterious than anything he had produced in the South Seas. The remarkable series of ten woodblock prints that Gauguin designed as illustrations bear little relationship to his romanticized autobiographical text. Nor do they seem to follow any particular sequence. However, the imagery and themes of the prints—love and fear, creation and death, day and night—relate closely to those of Gauguin's Tahitian paintings. The Noa Noa woodcuts were seen for the first time by a coterie of friends and admirers—including Degas and the critics Julien Leclerq and Charles Morice—at Gauguin's studio exhibition in December 1894. Leclerq and Morice responded enthusiastically. They recognized the crudely carved woodcuts as a "revolution in the art of printmaking," and appreciated them as a "bridge" between the seemingly disparate qualities of Gauguin's paintings and sculpture.