高更
（Paul Gauguin，1848年6月7日－1903年5月8日，双子座）
法国印象派画家、雕塑家、陶艺家及版画家
与塞尚、梵高合称后印象派三杰
大部份艺术史家将他归于后印象派
他的画作充满大胆的色彩
在技法上采用色彩平涂
注重和谐而不强调对比
神圣的春天甜美的梦
高更的作品趋向于“原始”的风格。其用色和线条都较为粗犷。高更的作品中往往充满具象征性的物与人。现代艺术史中，高更往往被拿来与梵高并论，他们曾经是很好的朋友，互相画过对方的肖像，但最后却步上不同的道路，并没有维持很好的友谊。高更不喜欢都市文明，反而向往蛮荒的生活，这些都在他的作品中看得出来。
1888年高更的《布列塔尼的猪倌》
勾黑边的平涂色彩彼此对立
不依靠中间调而呈现空间感
不仅在形色上和谐统一
更从现实的视觉中抽象出来
成为独立自主的艺术客体
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某些细节还与印象派藕断丝连
但画风已建立在新理论的基础上
高更将此风格称为“釉彩派”和“综合法”
至死不渝的发展下去
▼
确实
与塞尚表现空间的相互关系截然不同
高更如同景泰蓝般平面分布的色彩
平铺的形体轮廓
是避免写实刻画
而集中于艺术对象的起点
▼
高更曾在日记中写道：“印象主义一味研究色彩，毫无自由可言……他们只关注眼睛，而对思想的神秘核心漠不关心，从而落到只是科学推理的境地。”
这种对“思想的神秘核心”的表达
恰是高更的目标所在
▼
高更始终向往原始纯真的生活
渴望真正与土著人达到心灵的沟通
后来的高更经过错综复杂的经历
最终前往塔西提岛
并娶了土著女孩为妻
▼
当地人质朴的性格与友善的目光
使高更紧张的心情放松下来
完全将自我意识注入画作
创作风格彻底转变
1899年所作的《两位塔希提妇女 》
如同感官之美的简短赞美诗
▼
The Forest Path
Portrait of Claude Antoine Charles Favre
Portrait of Ingeborg Thaulow
Apple-Trees in Blossom
Geese on the farm
Riverside (Breton landscape)
Snow at Vaugirard
The market gardens of Vaugirard
Vaugirard church
Winter Landscape
1880
以油画7件、大理石胸像1件
参加第五届印象派画展
Clay jug and irin mug
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