Pesquisando por: "PAUL GAUGUIN" - Fotoarena - Agência de fotojornalismo

2X2RWTD The Large Tree. Paul Gauguin. 1891.

2X2RWTG Paul Gauguin. Parau na te Varua ino or Words of the Devil. 1892.

2X2RWF8 The Invocation. Paul Gauguin. 1903.

2X2RWFD Madame Alexandre Kohler. Paul Gauguin. 1887/1888.

2X2RWFB Breton Girls Dancing, Pont-Aven. Paul Gauguin. 1888.

2X2H46R Tahitian Women Bathing by Paul Gauguin in 1892

2X0HJXA ORSAY MUSEUM

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2WWT2F0 The Beautiful Angel (La Belle Angèle) is an 1889 painting by Paul Gauguin, now in the Musée d'Orsay in Paris

2WP3DW0 The Beautiful Angel (La Belle Angèle) is an 1889 painting by Paul Gauguin, now in the Musée d'Orsay in Paris

2WN5X50 Portrait Dedicated to Paul Gauguin (1888) (olio su tela 50,3 x 61,5 cm)vg02 - Van Gogh Vincent - Self

2WKMP08 Paul Gauguin. Self-Portrait. 1889.

2WJ19XC Paul Gauguin, Sketch for 'The Yellow Christ', 1889 ,oil on canvas, Thyssen-Bornemisza National Museum, Madrid

2WR88KW Breton peasant woman at the table, La femme aux figues, print maker: Armand Seguin, (possibly), print maker: Paul Gauguin, (possibly), publisher: Armand Seguin, 1894 - 1895, paper, etching, height 265 mm × width 418 mm, print

2WHNA01 painting by Paul Gauguin from 1892, oil on canvas, called 'Vahine no te vi (Woman of the Mango)' on display at the Baltimore Museum of Art

2WHN9W6 painting by Paul Gauguin from 1894, oil on canvas, called 'Upaupa Schneklud (The Player Schneklud)' on display at the Baltimore Museum of Art

2WBF2DK The Call. Paul Gauguin. 1902.

2WC3RMR January/Februaty 2024 'Conde Nast Traveler' magazine Advert, USA

2W9X6YX In the Waves (Dans les Vagues). Paul Gauguin. 1889.

2TAATHE Litography 'Breton Women beside a Fence' by Paul Gauguin, 1889. Eugene Henri Paul Gauguin (7 June 1848 – 8 May 1903) was a French Post-Impressionist artist. Unappreciated until after his death, Gauguin is now recognized for his experimental use of colour and Synthetist style that were distinct from Impressionism. Toward the end of his life, he spent ten years in French Polynesia. The paintings from this time depict people or landscapes from that region. His work was influential on the French avant-garde and many modern artists, such as Pablo Picasso and Henri Matisse, and he is well known for

2TAAT7R Artwork The Scream by Edvard Munch, 1893. oil on canvas. Edvard Munch (12 December 1863 – 23 January 1944) was a Norwegian painter. His 1893 work, The Scream, has become one of Western art's most acclaimed images. The Scream is Munch's most famous work, and one of the most recognizable paintings in all art. It has been widely interpreted as representing the universal anxiety of modern man. Painted with broad bands of garish color and highly simplified forms, and employing a high viewpoint, it reduces the agonized figure to a garbed skull in the throes of an emotional crisis. With this pain

2TAAT6Y Artwork Young Girl Sitting with a Rabbit by Pierre Bonnard, 1891, oil on canvas. Pierre Bonnard (3 October 1867 – 23 January 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, ur

2WPK71D 'Street in Rouen', 1884, Paul Gauguin (1848-1903),Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK2MC Paul Gauguin, (1848-1903), Coming and Going, Martinique, 1887, Thyssen Bornemisza Museum, Madrid

2WPK2M7 'The Fire at the River Bank', 1886, Paul Gauguin (1848-1903), Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK2MA Paul Gauguin, (1848-1903), An Orchard under the Church of Bihorel, 1884, Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK2ME Paul Gauguin, (1848-1903), Rue Jouvenet in Rouen, 1884, Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK2M8 'Mata Mua (In Olden Times)', 1892, Paul Gauguin (1848-1903), Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK2M6 Paul Gauguin, (1848-1903), Lilacs, 1885,Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK2M4 Paul Gauguin, (1848-1903), In the Henhouse, 1878, Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK2M2 Paul Gauguin, (1848-1903), Dogs running in a Meadow, 1888, Thyssen Bornemisza Museum, Madrid, Spain, Europe

2T8TNFX Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFP Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFN Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFT Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFJ Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFR Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFE Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFH Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF6 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFC Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF8 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF2 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF0 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNEM Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNER Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNEJ Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNET Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNEC Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNC1 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBB Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBK Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBE Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB7 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB9 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBG Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB4 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB0 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB2 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAX Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAT Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAP Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAH Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAM Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAF Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNA9 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAC Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TN90 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TN7K Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAE Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNA6 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAA Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TN7B Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8KFF5 Personnages comiques, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1900, print, woodcut, plate: 19.3 cm x 16 cm

2T8KF0M Misères humaines, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1889, print, zincography; yellow paper, plate: 32.5 cm x 24.4 cm

2T8K38J Portrait de Stéphane Mallarmé, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1891, print, etching; Japanese paper, plate: 18.1 cm x 14.4 cm

2T8K2HA Baigneuses Bretonnes, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1889, print, zincography; Japanese paper, plate: 25 cm x 20 cm

2T8K1WJ Portrait de Stéphane Mallarmé, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1891, print, etching; Japanese paper, plate destroyed, plate: 18.1 cm x 14.4 cm, in the plate M.o. '91', '9' reversed

2T8K1JF Te Arii Vahine. - Opoi, La Femme aux Mangos, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1911, print, woodcut, on paper, plate: 16 cm x 31.1 cm

2T8K1CN Bouddha, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1898 - 1899, print, woodcut; Japanese paper; Cardboard, plate: 30.6 cm x 22.7 cm

2T8K15P Maruru, Merci, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1893 - 1894, print, tonewoodcut; Japanese paper; gray cardboard, plate: 20.6 cm x 35.7 cm

2T8K0YA Te Atua; Les Dieux, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1898-99, print, woodcut; Japanese paper, plate: 23.7 cm x 20.5 cm

2T8K0YG Le Porteur de Féi, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1898 - 1899, print, woodcut, on fine Japanese paper, plate: 16.1 cm x 28.6 cm

2T8K0YR Portrait de Stéphane Mallarmé, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1891, print, etching and engraving; Japanese paper, plate: 18.1 cm x 14.4 cm, in the plate M.o. '91', '9' reversed

2T8JYW4 Dessins lithographiques, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1889, prints, zincography; yellow paper, plate: 30.2 cm x 25.8 cm

2T8JYTD Les Drames de la Mer, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1889, print, zincography; yellow paper, plate: 16.5 cm x 27.5 cm

2T8JYBN Misères humaines, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1889, print, zincography; Japanese paper, plate: 29.1 cm x 23.2 cm

2T8JY6E Les Cigales et les Fourmis, Paul Gauguin, Paris 1848 - 1903 Atuona on Hivaoa, 1889, print, zincography; Japanese paper, plate: 21.5 cm x 26.1 cm

2X559FN The White Horse' by Paul Gauguin, painted in 1898, housed at the Louvre Museum, Paris, France. Known for his bold use of color and symbolic imagery, this piece features a white horse set against a tropical background, indicative of his time in Tahiti. The artwork reflects Gauguin's departure from European artistic conventions and his exploration of the themes of nature and primitive simplicity.

2W9EXT9 Self-Portrait with Portrait of Emile Bernard, Les Miserables, Paul Gauguin, 1888,

2W9EXT4 Vincent van Gogh Painting Sunflowers, Paul Gauguin, 1888,

2W9EXT8 Breton Girl Spinning, Paul Gauguin, 1889,