Exhibit of the week: Paul Gauguin: Paris, 1889

The Cleveland Museum of Art’s “absorbing and seductive new exhibition” traces Gauguin’s artistic development ­during a single formative year: 1889.

Cleveland Museum of Art

Through Jan. 18

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A little-studied period in the life of this major artist “has been brought to light for the first time,” said Dorothy Shinn in the Akron Beacon Journal. But Gauguin’s work is also accompanied by more than 75 paintings by his contemporaries. In fact, the centerpiece is a re-creation of “an epochal” exhibition staged by Gauguin and his avant-garde cohorts in a French café. “A sort of show within a show,” this gallery reunites paintings by Gauguin, Émile Bernard, Charles Laval, and other like-minded artists, many of which “haven’t hung together since 1889.” Nearby is a set of zincograph prints that Gauguin produced during trips to the south of France and on his first travels to the tropics. Filled with “bathers, laundresses, and figures in exotic landscapes,” they foreshadow the subject matter, motifs, and even particular poses he would return to in his later paintings.

Such preliminary exercises were “of paramount importance” to Gauguin’s artistic development, said Christopher A. Yates in the Columbus, Ohio, Dispatch. He would soon create some of his earliest­ painted masterpieces. Young Christian Girl (1894) and There Is the Temple (1892) draw “symbolic and spiritual meaning” from their bold use of the color yellow. In the Waves (1889), “featuring a red-haired woman caressed by an oncoming wave,” seems to reflect the artist’s budding preoccupation with “primitive” purity. His skepticism about modern civilization would eventually drive him to Tahiti. But even the earliest paintings here, such as Breton Girls Dancing, Pont-Aven (1889), hint at his growing uncertainties “about the flawed advance of European civilization.”

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