Description
The work "Garden under the church of Bihorl (children in the grass)" by Paul Gauguin, painted in 1884, is an intriguing reflection of the intersection between everyday life and spirituality in the context of nature, a recurring theme in the artist's work. This piece mastery a landscape in which you can see the Church of Bihorel in the back deeper in his subsequent works.
The composition of the painting is articulated in an almost vertical context, where the church rises as a spiritual lighthouse in the middle of an earthly world, represented by the garden and the children playing in the grass. The presence of the Church, with its Gothic architecture, contrasts significantly with the freedom and carefreeness of infants, who seem to enjoy a radiant day under the sun. This duality creates a dialogue between worldly duties and spiritual aspirations, a theme that will become fundamental in the symbolism of Gauguin's art.
Color is an essential element in this work. Gauguin uses a rich and vibrant palette that evokes the luminosity of natural light and the freshness of the environment. The green of the grass and the trees, represented with an almost emerald tone, are mixed with the warm yellow and orange of the lights, creating a contrast that highlights both the figures and their surroundings. Children are dressed in vibrant colors that highlight their energy and vivacity, causing the true protagonists of the painting. Each stroke, every choice of color, seems to be destined to convey a sense of innocent joy, a moment of happiness in nature.
Gauguin, a precursor to symbolism and sometimes indicated as a precursor to modern art, was often attracted to the emotional intensity that he could capture through his works. Although "orchard under the church of Bihorel" can be perceived as a pastoral representation, it also has introspection nuances and a call to connection with the primary, the elementary, which is found in its natural environment. This piece, together with others from the same stage, reveals its transition towards a style that embraces more simplified forms and more expressive colors, which encouraged the viewer to experience an emotional response beyond the mere realistic representation.
In the context of the art of the late nineteenth century, this painting is in a period of intense artistic exploration. Gauguin, seeks to distance himself from the impressionism that had influenced him, in favor of an approach that prioritizes expression and spirituality over mere visual observation. This work could be considered a prelude to its subsequent search for new worlds on its trip to Polynesia, where it would continue to explore the fusion of the virginal, the spiritual and child joy.
In sum, "Garden under the church of Bihorel" is not only a visual representation of life in the field, but an example of the way Gauguin intertwines the everyday with the transcendental. Its use of color, composition and theme reflects an innovative approach in nineteenth -century painting, laying the basis for the development of symbolism in modern art. This work invites the viewer not only to observe, but to feel immersed in the simplicity and beauty of the captured moment, an echo of the human experience that still resonates today.
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