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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
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As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
- Published on: 2015-08-08
- Original language: English
- Number of items: 1
- Dimensions: 9.21" h x .25" w x 6.14" l, .63 pounds
- Binding: Hardcover
- 74 pages
From Kirkus Reviews
Gauguin may have been guilty of buying into the myth of the ``noble savage,'' but his Romantic quest seems almost contemporary today. In his own post-Rousseau, premulticultural time, however, his Tahitian escapade was viewed less sanguinely. On his return to France, unable to find a publisher, Gauguin himself published his diary, Noa Noa, minus the accompanying woodblock illustrations. Now the journal and art are reunited in this verbal and visual ode to Tahiti. The black-and-white woodblock prints present a spare contrast to the usual wash of colors in Gauguin's paintings, but they retain the pacific sensuality that permeates his work. The color here comes from the sketches Gauguin made in the margins of his diary, and from the writing itself: ``Silence? I am learning to know the silence of a Tahitian night.... The rays of the moon play through the bamboo reeds.... Between me and the sky there was nothing except the high frail roof of pandanus leaves, where the lizards have their nests.'' -- Copyright ©1994, Kirkus Associates, LP. All rights reserved.
Language Notes
Text: English, French (translation)
From the Back Cover
In 1894, Paul Gauguin came to the conclusion that European culture in general, and French culture in particular, was spiritually and morally bankrupt. So he left. On the eighth of June 1894 he arrived in Tahiti, an island of tropical warmth, impenetrable jungles, and--most importantly for Gauguin--unspoiled, undecadent, un-European, and extremely beautiful people.He luxuriated in this paradise for two years, producing some of this best and best-known paintings. But Gauguin left us another masterpiece that has languished in obscurity until now: his journal and the woodblocks he made to accompany it.
Most helpful customer reviews
8 of 9 people found the following review helpful.
Gauguin's record of one of his stays in the South Sea Paradise.
By James R. Holland
This is a jewel of an art book by one of the greatest painters of the late 1800's and early 1900's. Originally considered too racy to publish in France, this 2005 English edition of the banned 1894 illustrated personal journal is probably how Paul Gauguin would have liked to have seen his text and art work combined for publication. The color and layout do justice to his artistic creations. The only change the artist might have still wished for was to have the book's format slightly larger since some of his woodcuts and the original journal itself are slightly larger than this reproduction of the work.
The book has a short 1962 introduction by W. Somerset Maugham that is somewhat amusing in that it tells how Maugham traveled to Tahiti to research Gauguin for a book he was considering writing about the island's most famous painter. He found one of the actual huts where Gauguin had lived and worked and purchased one of the glass panels that Gauguin had painted for one of the hut's three doors. The children living in the hut had passed the time scratching the windows clean and already destroyed the other two door paintings. Maugham bought the half door containing the one surviving glass panel with its painting of "Eve, nude, with the apple in her hand" still intact for four hundred francs and had it shipped back to his home in New York. It was in his writing room at the time he wrote the introduction for this volume.
Relating the antidote of Maugham's good luck and prowess at art collecting was the only subject covered in the introduction. But it did illustrate how little remained in Tahiti of Gauguin's stay in the Island Paradise. There was even less left there after the famous writer's research visit.
Gauguin's text is much more interesting. He tries to capture some of the purity of the native culture that was being quickly destroyed by the European invasion. I particularly liked the stories of one of his treks into the land of the Gods near the center of the island as well as his story of taking a local wife (concubine) from among the natives. After the deal was made with the 13-year-old girl's parents and stepparents, she accompanied her new mate home. After eight days the woman was required to return to her home and if she had decided she didn't like the match, she never returned to him. That's how divorce was handled in Gauguin's Paradise.
Gauguin attempted to explain the secret and mysterious history, legends and religious beliefs of the natives. His paintings and wood block prints helped him with this documentation. Why he suddenly left his idyllic life in paradise after only a two year stay to return to France in 1896 isn't explained in his journal. He only describes the pain it caused him and his beautiful native mate who he never saw again.
This is a must read for any fan of Paul Gauguin's artwork. Unfortunately, it only answers a few of the many unanswered questions about the great painter's life. And new questions are brought up and then abandoned. Personally, I would love to have read more about the former cannibals he met while living in his South Seas Paradise. Too often Gauguin only touched on some really fascinating fact and then left the reader dangling and desperate to know more. It's still a beautifully illustrated must read!
1 of 1 people found the following review helpful.
"Noa Noa" by Paul Gaugin
By Julie Harvey
I stumbled upon a used copy of "Noa Noa" in 1985 as I passed by a street vendor selling books in New York City. I briefly glanced over his selection until the words "Noa Noa" jumped out at me. I couldn't believe I had found a copy of Paul Gaugin's book for sale on the streets of New York. I instantly bought it and have kept it with me ever since.
Paul Gaugin is one of the great post-impressionist painters whose art can be found in most museums around the world. Not only is he an accomplished painter, but a creative writer as well. His "journal of the south seas" is witty, humorous and is a poetically descriptive record of the artist's first trip to the island of Tahiti.
Paul Gaugin traveled to Tahiti because he wanted to free himself from the European struggles and live in a more natural and peaceful place. In "Noa Noa" he documents his travels to the island and shares his new experiences, which seem much freer than how we live today. It explains his fascination with the beautiful women of Tahiti, an attraction which led to some of the most famous paintings in art history. I very much enjoyed reading this journal and, as an artist myself, found it very inspiring.
"Noa Noa" is translated from french by O. F. Theis
Reviewed by Julie Harvey
3 of 4 people found the following review helpful.
A Great Little Book
By A Customer
This is a great book detailing a few pages from his journal. It has great wood-cut reprints and is a quick read. It puts you into the spirit of Tahiti.
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