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PAUL GAUGUIN. 1848-1903

192 SELF-PORTRAIT

Oil on canvas. 46 X 37 cm. Inv. No 3264 Signed lower left: PC О

In 1903 Gauguin sent this picture to Daniel de Mon-freid in Paris, asking him to show and sell it to Gus-tave Fayet. The picture is painted on the coarse, thick-grained canvas frequently used by Gauguin in the 1890s. Wildenstein and Rewald date it to 1888— 90, F. Cachin to 1888. However, the picture is stylistically closer to Gauguin's works of the 1890s. Provenance: The G. Fayet Collection, Paris (probably from 1903); until 1918 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western

Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1906 Paris (Salon d'Automne); 1926 Moscow (Paul Gauguin), Cat. 2; 1966—67 Tokyo, Kyoto, Cat. 61

Bibliography: Кат. ГМИИ 1961, p. 54; Кат. собр. С. Щукина 1913, No 18, pp. 6—7; Тугендхольд 1914, p. 38, ill. p. 40; Перцов 1921, No 18, p. 108; Тугенд-хольд 1923, ill. p. 49; Ternovetz 1925, p. 472; Кат. ГМНЗИ 1928, No 88; Reau 1929, No 830; Cahiers d'Art 1950, p. 341; Wildenstein 1964, p. 110, No 297, ill.; Кантор-Гуковская 1965, ill.; Cachin 1968, p. 364

192 SELF-PORTRAIT
192 SELF-PORTRAIT

193 CAFE AT ARLES. 1888

Oil on canvas. 72 X 92 cm. Inv. No 3367 Signed and dated twice, lower right and lower left: P. Gauguin 88

The picture was painted in November 1888 at Aries where Gauguin arrived on Van Gogh's invitation. It depicts the interior of a cafe owned by J. Ginoux, whose wife is also portrayed here. A preliminary drawing for the Moscow canvas portraying Mme Ginoux is in the Hanley Collection (Bradford, Penn., USA). Several oil copies of this drawing were made by Van Gogh. Gauguin describes Cafe at Aries in a letter to Emile Bernard dated November 1888, in which he mentions all the persons depicted, except for the postman Roulin, seated on the right; he can be recognized from a portrait painted by Van Gogh. An Arlesienne resembling Mme Ginoux figures in Gauguin's picture of 1888, An Old Arlesienne (The Art Institute of Chicago), and the zincograph The Spinsters (1889).

There are many sketches of Arlesian women resembling Mme Ginoux in Gauguin's notebooks (R. Huyghe, Garnets de Gauguin, Paris, 1952, p. 19).

Provenance: until 1908 The A. Vollard Collection, Paris; 1908—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1906 Berlin, Cat. 80; 1926 Moscow (Paul Gauguin), Cat. 1; 1955 Moscow, Cat., p. 27; 1956 Leningrad, Cat., p. 16; 1960 Moscow, Cat., p. 12

Bibliography: Кат. ГМИИ 1957, p. 38; Кат. ГМИИ 1961, p. 53; Маковский 1912, pp. 15, 19; Ternovetz 1925, p. 471; Кат. ГМНЗИ 1928, 103; Reau 1929, No 845; Malingue 1946, No LXXV; Cahiers d'Art 1950, p. 341; Sterling 1957, ill. 101, p. 126; Прокофьев 1962, ill. 153; Wildenstein 1964, pp. 113, 114, No 305, ill.; Кантор-Гуковская 1965, pp. 71—73, ill.; Cachin 1968, pp. 133—134, 364, ill. 61; Antonova 1977, No 112

193 CAFE AT ARLES. 1888
193 CAFE AT ARLES. 1888

194 ARE YOU JEALOUS? (AHA OE FEII?). 1892

Oil on canvas. 66 X 89 cm. Inv. No 3269 Signed and dated center right: P. Gauguin 92 Inscribed lower left: Aha oe feii? Gauguin painted this picture during his first visit to Tahiti. In December 1892 he sent it with several other pictures to an exhibition in Denmark. In his letter of December 8, 1892 Gauguin begs his wife not to sell this canvas for less than 800 francs. Gauguin describes this picture in his diary Noa Noa: "On the shore, despite the heat, two sisters are lying after bathing in the graceful poses of resting animals; they speak of yesterday's love and the morrow's victories. The recollection causes them to quarrel: 'What! Are you jealous?'i Provenance: from 1895 The Leclanche Collection,

Paris; 1908—18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow.

Exhibitions: 1893 Paris, Cat. 18; 1895 Paris (Hotel Drouot), Cat. 19; 1926 Moscow (Paul Gauguin), Cat. 7; 1955 Moscow, Cat., p. 27; 1956 Leningrad, Cat. p. 16; ' 1960 Moscow, Cat., p. 13

Bibliography: Кат. ГМИИ 1957, p. 38, ill; Кат. ГМИИ 1961, p. 54, ill.; Rotonchamp 1906, pp. 110, 114, 119 (No 18), 135; С. Маковский, "Проблемы 'тела' в живописи", Аполлон, 1910, р. 17; Кат. собр. С. Щукина 1913, No 26, pp. 26—27; Гоген 1914, р. 27; P. Gauguin, Briefe an Georges Daniel de Monfreid, Potsdam, 1920, p. 99; Перцов 1921, No 26, p. 1C8; Тугендхольд 1923, p. 52, ill. p. 53; Ternovetz 1925, pp. 472, 476; Кат. ГМНЗИ 1928, No 90; Reau 1929, No 832; Malin-gue 1946, pp. 236^237; Sterling 1957, ill. 103; Прокофьев 1962, ill. 154; Wildenstein 1964, p. 186, No 461; Кантор-Гуковская 1965, pp. Ill—113, ill.; П. Гоген, Письма. "Ноа-Ноа". Из книги "Прежде и потом", Leningrad, 1972, ill. 8

194 ARE YOU JEALOUS? (AHA OE FEII?). 1892
194 ARE YOU JEALOUS? (AHA OE FEII?). 1892

195 HER NAME IS VAIRAUMATI(VAIRAUMATI TEI О A). 1892

Oil on canvas. 91 X 68 cm. Inv. No 3266 Signed and dated lower left: Paul Gauguin 92 Tahiti Inscribed bottom center: Vairaumati tei oa The picture was painted during Gauguin's first Ta-hitian period. Vairaumati is the heroine of a Maori legend which Gauguin retells in Noa Noa. A variant of the Moscow picture, dated the same year, is in the William S. Paley Collection in New York. On the evidence of John Rewald, the model for the New York picture was Tehura, Gauguin's vahine. The same woman is apparently depicted in the Moscow picture. Provenance: until 1918 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1893 Paris, Cat. 13; 1895 Paris (Hotel Drouot), Cat. 15; 1926 Moscow (Paul Gauguin), Cat. 6; 1955 Moscow, Cat., p. 27; 1956 Leningrad, Cat., p. 16; 1960 Moscow, Cat., p. 13

Bibliography: Кат. ГМИИ 1957, p. 38; Кат. ГМИИ 1961, p. 54; Rotonchamp 1906, pp. 119, 135; Кат. собр. С. Щукина 1913, No 21, pp. 6—7; Гоген 1914, pp. 106-109; Тугендхольд 1914, P. 38, ill. p. 49; Перцов 1921, No 21, p. 108; Кат. ГМНЗИ 1928, No 89; Reau 1929, No 831; Cahiers d'Art 1950, p. 341; Wil-denstein 1964, pp. 179—180, No 450, ill.; Cachin 1968, p. 364

195 HER NAME IS VAIRAUMATI(VAIRAUMATI TEI О A). 1892
195 HER NAME IS VAIRAUMATI(VAIRAUMATI TEI О A). 1892

196 LANDSCAPE WITH PEACOCKS. 1892

Oil on canvas. 115 X 86 cm. Inv. No 3369 Signed, inscribed and dated lower right: Matamoe P. Gauguin 92

The picture was painted during Gauguin's first Tahi-tian period. The Tahitian word Matamoe is usually translated as dead or alien; in this latter meaning it probably refers to the peacocks, which, according to Maori legends, were not original inhabitants of the islands. This is the first of Gauguin's works bought by Ivan Morozov.

Provenance: 1895 The Collection of Paul Gauguin and J. de Rotonchamp, Paris; The A. Seguin Collection, Paris; until 1907 The A. Vollard Collection, Paris; 1907—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1893 Paris, Cat. 2; 1895 Paris (Hotel Drouot), Cat. 4; 1906 Paris (Salon d'Automne), Cat. 76; 1926 Moscow (Paul Gauguin), Cat. 8; 1939 Moscow, Cat., pp. 21, 49; 1955 Moscow, Cat., p. 27; 1956 Leningrad, Cat., p. 16; 1967 Montreal, Cat. 89; 1974— 75 Paris (Grand Palais), Cat. 190 bis; 1975 Moscow Bibliography: Кат. ГМИИ 1957, p. 38; Кат. ГМИИ 1961, p. 54; Rotonchamp 1906, pp. 119, 134; Гоген 1914, pp. 29—31; Маковский 1912, p. 20; Ternovetz 1925, p. 471, ill. p. 476; Кат. ГМНЗИ 1928, No 107; Reau 1929, No 849; Cahiers d'Art 1950, p. 341; Musee de Moscou 1963, p. 182, ill.; Wildenstein, 1964, pp. 195—196, No 484, ill.

196 LANDSCAPE WITH PEACOCKS. 1892
196 LANDSCAPE WITH PEACOCKS. 1892

197 THE KING'S WIFE

(ТЕ ARII VAHINE). 1896 Oil on canvas. 97 X 130 cm. Inv. No 3265 Signed, inscribed and dated lower right: Те Aril Vahine. P. Gauguin 1896

The picture was painted during Gauguin's second Tahitian period. According to Perruchot, the model for this canvas was Gauguin's vahine Pau'ura. Describing the picture to Daniel de Monfreid, Gauguin wrote: "I think that in color I have never before achieved anything of such a majestic deep sonority." There is a watercolor done from the Moscow picture in the W. Chaney Collection in New York. A variant of the work (according to Wildenstein, a study for the Pushkin Museum canvas) is in the J. Thannhauser Collection in New York. Gauguin used the same subject in his woodcuts and wood sculptures.

Provenance: from 1903 The G. Fayet Collection, Paris; 1910—18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1906 Paris (Salon d'Automne), Cat. 13; 1926 Moscow (Paul Gauguin), Cat. 13; 1955 Moscow, Cat., p. 27; 1956 Leningrad, Cat., p. 17; 1958 Brussels, Cat. 98; 1960 Moscow, Cat., p. 13 Bibliography: Кат. ГМИИ 1957, p. 38; Кат. ГМИИ 1961, p. 54; Rotonchamp 1906, p. 138, ill. p. 170; С. Маковский, "Проблемы 'тела' в живописи", Аполлон, 1910, pp. 25—26; Кат. собр. С. Щукина 1913, No 19, pp. 6—7; Тугендхольд 1923, ill. p. 51; Terno-vetz 1925, p. 472, ill. p. 477; Кат. ГМНЗИ 1928, No 91; Reau 1929, No 833; Malingue 1946, ill. 206; Cahiers d'Art 1950, p. 341; Sterling 1957, ill. 106; Прокофьев 1962, ill. 156; Musee de Moscou 1963, p. 184, ill.; Wildenstein 1964, pp. 223, 224, No 542, ill.; Кантор-Гуковская 1965, pp. 144—145, ill.; ГМИИ 1966, No 98; Cachin 1968, p. 332, ill. 196; П. Гоген, Письма. "Ноа-Ноа". Из книги "Прежде и потом", Leningrad, 1972, pp. 74, 234; Antonova 1977, No 113

197 THE KING'S WIFE
197 THE KING'S WIFE

198 THE GREAT BUDDHA. 1899

Oil on canvas. 134 X 95 cm. Inv. No 3368

Signed and dated lower left: P. Gauguinj99 The picture is stylistically typical of Gauguin's works of the 1890s. After 1898 the artist frequently painted many-figure scenes of a religious and philosophical character ( The Last Supper, 1899, in the Kathie Gra-noff Collection, Paris). The Great Buddha was bought by Ivan Morozov from Ambroise Vollard for 20,000 francs.

Provenance: The G. Fayet Collection, Paris; until 1908 The A. Vollard Collection, Paris; 1908—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1906 Paris (Salon d'Automne); 1926 Moscow (Paul Gauguin), Cat. 25

Bibliography: Кат. ГМИИ 1961, p. 55; Маковский 1912, p. 20; Тугендхольд 1923, p. 54; Ternovetz 1925, pp. 472, 473, ill.; Кат. ГМНЗИ 1928, No 112; Reau 1929, No 854; Cahiers d'Art 1950, p. 342; Wildenstein 1964, p. 243, No 579, ill.; В. Зиновьева, "Реставрация картины П. Гогена Великий Будда", Сообщения ГМИИ, 1966, 3, pp. 80-83; Cachin 1968, p. 364

198 THE GREAT BUDDHA. 1899
198 THE GREAT BUDDHA. 1899

199 LANDSCAPE. 1899

Oil on canvas. 94 X 73 cm. Inv. No 3263 Signed and dated lower left: Paul Gauguin 99 This picture was among the works Gauguin sent from the island of Dominique to Europe shortly before his death.

Provenance: 1903 The A. Vollard Collection, Paris; 1905—18 The S. Shchukin Collection, Moscow; 1918— 48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1926 Moscow (Paul Gauguin), Cat. 21; 1965 Bordeaux, Cat. 61; 1965—66 Paris, Cat. 58 Bibliography: Кат. ГМИИ 1961, p. 54; Rotonchamp 1906, p. 189 (No 5); Кат. собр. С. Щукина 1913, No 17, pp. 6—7; Тугендхольд 1914, p. 38, ill. p. 48; Grautoff 1919, ill. p. 91; Перцов 1921, No 17, p. 108; Тугендхольд 1923, ill. p. 55; Ternovetz 1925, p. 41; Кат. ГМНЗИ 1928, No 97; Reau 1929, No 839; Cahiers d'Art 1950, p. 341; Wildenstein 1964, p. 249, No 589, ill.; Cachin 1968, p. 364

199 LANDSCAPE. 1899
199 LANDSCAPE. 1899

200 THE FORD (FLIGHT). 1901

Oil on canvas. 76 X 95 cm. Inv. No 3270

Signed and dated lower right: Paul Gauguin 1901

The picture was painted on the island of Dominique

and sent by Gauguin in April 1903 to Daniel de Monfreid to be sold.

Provenance: until 1906 The D. de Monfreid Collection, Paris; 1906 The G. Fayet Collection, Paris; until 1918

The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948

The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1906 Paris (Salon d'Automne), Cat. 22; 1926 Moscow (Paul Gauguin), Cat. 28; 1958 Brussels, Cat. 99; 1960 Moscow, Cat., p. 13

Bibliography: Кат. ГМИИ 1957, p. 38; Кат. ГМИИ 1961, p. 55; Кат. собр. С.Щукина 1913, No 31, pp. 8—9; Тугендхольд 1914, p. 39, ill. p. 46; Grautoff 1919, ill. p. 92; Перцов 1921, No 31, p. 108; Тугендхольд 1923, ill. p. 54; Ternovetz 1925, pp. 472, 475, ill.; Кат. ГМНЗИ 1928, No 102; Reau 1929, No 844; Wildenstein 1964, p. 254, No 597, ill.; Кантор-Гуков-ская 1965, p. 173, ill.; ГМИИ 1966, No 99; Cachin 1968, p. 364; Antonova 1977, No 115

200 THE FORD (FLIGHT). 1901
200 THE FORD (FLIGHT). 1901

201 GATHERING FRUIT. 1899

Oil on canvas. 130 X 190 cm. Inv. No 3268 Signed, inscribed and dated lower left: Ruperure, Paul Gauguin 1899

The picture in part repeats the large panel of 1898, Preparations for a Feast (Tate Gallery, London). Gauguin also used this subject in his woodcuts, monotypes and drawings (the latter for his manuscript Avant et apres): In 1903 the artist sent Gathering Fruit to Daniel de Monfreid in Paris, asking him to sell it to Georges Fayet (Gauguin's letter to Monfreid, December 21, 1903).

Provenance: The G. Fayet Collection, Paris (evidently from 1903); 1913—18 The S. Shchukin Collection,Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1926 Moscow (Paul Gauguin), Cat. 22; 1955 Moscow, Cat., p. 27; 1956 Leningrad, Cat., p. 17

Bibliography: Кат. ГМИИ 1957, p. 38; Кат. ГМИИ 1961, p. 54; Кат. собр. С. Щукина 1913, No 24, pp. 8—9; Тугендхольд 1914, p. 38, ill. p. 50; Grautoff 1919, ill. p. 90; Перцов 1921, No 24, p. 108; Тугендхольд 1914, p. 48; Ternovetz 1925, ill. p. 475; Кат. ГМНЗИ 1928, No 98; Reau 1929, No 840; Cahiers d'Art 1950, p. 341; Wildenstein 1964, p. 247, No 585, ill.

201 GATHERING FRUIT. 1899
201 GATHERING FRUIT. 1899

202 PARROTS. 1902

Oil on canvas. 62 X 76 cm. Inv. No 3371 Signed and dated: Paul Gauguin 1902 The picture was painted on the island of Dominique. A variant of the same year is in the collection of E. von der Heidt at Ascona (Switzerland). Bengt Danielsson believes that the still life was painted during the artist's illness, when he was not able to leave the house, and that the sculpture of Buddha depicted in it is an earlier work by Gauguin.

Provenance: The G.Fayet Collection, Paris; until 1910 The E. Druet Collection, Paris; 1910—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1906 Paris (Salon d'Automne), Cat. 15; 1926 Moscow (Paul Gauguin), Cat. 29; 1955 Moscow, Cat., p. 28; 1956 Leningrad, Cat., p. 17 Bibliography: Кат. ГМИИ 1957, p. 39; Кат. ГМИИ 1961, p. 55; Тугендхольд 1923, p. 50; Ternovetz 1925, pp. 472, 474, ill.; Кат. ГМНЗИ 1928, No 113; Reau 1929, No 855; Cahiers d'Art 1950, p. 342; Sterling 1957, ill. 110; Musee de Moscou 1963, p. 185, ill.; Wildenstein 1964, p. 267, No 629; Cachin 1968, p. 364

202 PARROTS. 1902
202 PARROTS. 1902

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