Collection

Paul Gauguin
French, 1848-1903

Pots en Grès Chaplet (Chaplet Stoneware Jugs), c. 1888
Gouache, watercolor, and charcoal on Japanese paper
Bequest of Sarah Hamlin Stern, class of 1938, in memory of her husband, Henry Root Stern, Jr.
1994.2.1
Period: 19th c
Classification: Drawing
Dimensions: Framed: 20 1/2 x 24 7/16 x 1 7/8 in. (52.07 x 62.07 x 4.76 cm) Image: 12 x 15 3/4 in. (30.48 x 40.01 cm)
Signatures, Inscriptions and Markings v
Signed (LR): P Gauguin
Inscribed (LR): Pots en Gres. Chaplet
Published References v
Dario Gamboni,” The Listening Eye: Taking Notes After Gauguin”, Documenta, Hatje Cantz Verlag, Vol. 13, no. 19, p. 34-35, repr. Hargove, June, Paul Gaugin (Paris: Citadelles & Mazenod), p.98, repr.
Exhibition History v
From Manet to Picasso: Impressionist and Post-Impressionist Prints & Drawings FLLAC- 4/6-6/10/2001; Sioux City Art Center 10/31-12/9/2001; New York, New York, Metropolitan Museum of Art, "Gauguin in New York," June 18-October 20, 2002; Cleveland, Ohio, Cleveland Museum of Art, "Becoming Gauguin: The Volpini Suite, 1889," October 4, 2009 - January 18, 2010; Postbus, Amsterdam, Van Gogh Museum, "Becoming Gauguin: The Volpini Suite, 1889," February 19, 2010 - June 6, 2010; Chicago, Illinois, The Art Institute of Chicago, "Gauguin: Artist as Alchemist," June 25, 2017 - January 21, 2018.
Description v
Gauguin, one of the most influential of French Post-Impressionist artists, explored a variety of artistic media in addition to drawing and painting. These included woodcuts, carved wooden sculpture, and ceramics. Through the printmaker Félix Bracquemond, Gauguin was introduced in 1886 to the ceramicist Ernest Chaplet, whose stoneware technique (grès), previously un- derstood in France only in a utilitarian sense, was considered artistically highly evolved. Gauguin was taught how to work in this material and over the next ten years produced around one hundred objects, including the two vases that appear in this drawing — the Leda Vase (represented twice) and the Portrait Vase in Unglazed Stoneware of a Woman Wearing a Snake-Belt. Both vases survive and are in private collections. This medium allowed Gauguin to make works of seeming utilitarian art, thus emphasizing and incarnating the cross-cultural references that most interested him.
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