Description
The work "The real end" by Paul Gauguin, concluded in 1892, captures an essence of deep symbolism and a desire for the primitive that defines much of the artistic production of the artistic production of the master postimpressionist. In this piece, Gauguin presents a trip to the hidden and the mystical, where the visual narrative unfolds through a rich palette, delineated shapes and a composition that evokes the tension between ideal and reality.
When observing "the real end", the attention is immediately captured by its composition. He painting It is divided into two main sections: the top where human figures are found and the background that encapsulates a natural landscape, which is a recurring characteristic in Gauguin's work. This structure provides a sense of depth and simultaneity, as if the work invites us to explore both physical and metaphysical plane. In the foreground, the figure of a man rises to the right, while the composition is balanced by the presence of another figure to the left that seems to be mired in contemplation, suggesting a deep connection between the characters and nature.
The use of color is another of the distinctive characteristics of this work. Gauguin applies intense and saturated tones that generate a sense of unreality and emotion. Reds, green and yellow vibrant create a loaded atmosphere, where each nuance seems to have a hidden meaning. This chromatic approach, far from being merely decorative, acts as an essential narrative component that allows the viewer to feel the emotional load of the scene represented. The loaded atmosphere that emerges from the colors, together with the inclination towards the simplification of the forms, reflects Gauguin's search for spirituality and its desire to transcend everyday reality.
The figures present in "the real end" have an almost mythical air; They seem to embody a dialogue between the earthly and the divine. The representation of man, dressed in a Sarong, evokes cultural traditions of the South Pacific, something that always fascinated Gauguin and influenced his work after his transfer to Tahiti. While many of his contemporaries praised modernity and industrial society, Gauguin moved away looking for authenticity in the primitive, which translates into his rubbing with the symbolic and spiritual in his works. This search becomes palpable in "The real end", where the figures seem to be in contemplation of life and death, a recurring theme in the artist's work.
In addition, it is interesting to consider that "the real end" is emblematic of the synthetic style that Gauguin developed in his career, in which the direct observation of nature is combined with personal and emotional interpretation. The technique of applying thick paint layers and the use of flat colors remembers a dialogue with the traditions of engraving and medieval painting, which gives the work a rich texture that invites the viewer to an almost tactile closeness. This use of color and shape moves away from the realistic representation, which allows the spectator to immerse himself in a visual experience that transcends time and place.
"The real end" is not just a particular representation in the life of its protagonists; It is an echo of the concerns of an artist who sought to understand his place in a world in transformation. The work can be seen as a social comment on life in colonies and cultural loss, while inviting us to find our own meaning in its hidden message. In summary, Gauguin's work remains a testimony of a longing for rediscovering the essentials in human experience, through the lens of artistic imagination.
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