Editing Paul Gauguin (section)

== Influence on Picasso ==
[[File:Paul Gauguin, 1893-95, Objet décoratif carré avec dieux tahitiens, terre cuite, rehauts peints, 34 cm, Musée d'Orsay, Paris.jpg|thumb|Paul Gauguin, 1893–1895, ''Objet décoratif carré avec dieux tahitiens'', terre cuite, rehauts peints, 34&nbsp;cm, [[Musée d'Orsay]], Paris]]
Gauguin's posthumous retrospective exhibitions at the [[Salon d'Automne]] in Paris in 1903, and an even larger one in 1906, had a stunning and powerful influence on the French [[avant-garde]] and in particular [[Pablo Picasso]]'s paintings. In the autumn of 1906, Picasso made paintings of oversized nude women and monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in [[primitive art]]. Picasso's paintings of massive figures from 1906 were directly influenced by Gauguin's sculpture, painting, and his writing as well. The power evoked by Gauguin's work led directly to ''[[Les Demoiselles d'Avignon]]'' in 1907.<ref name=twsJun10a>{{cite news
 |last=Miller|first= Arthur I.
 |title= Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc
 |work= [[The New York Times]]
 |quote= Les Demoiselles contains vestiges of Cézanne, El Greco, Gauguin and Ingres, among others, with the addition of conceptual aspects of primitive art properly represented with geometry.
 |year= 2001
 |url= https://www.nytimes.com/books/first/m/miller-01einstein.html
 |access-date=10 June 2010
|author-link= Arthur I. Miller
 }}</ref>

According to Gauguin biographer, [[David Sweetman]], Picasso, as early as 1902, became a fan of Gauguin's work when he met and befriended the expatriate Spanish sculptor and ceramist [[Paco Durrio]], in Paris. Durrio had several of Gauguin's works on hand because he was a friend of Gauguin's and an unpaid agent of his work. Durrio tried to help his poverty-stricken friend in Tahiti by promoting his oeuvre in Paris. After they met, Durrio introduced Picasso to Gauguin's stoneware, helped Picasso make some ceramic pieces, and gave Picasso a first ''La Plume'' edition of ''Noa Noa: The Tahiti Journal of Paul Gauguin.''<ref>Sweetman, 563.</ref> In addition to seeing Gauguin's work at Durrio's, Picasso also saw the work at [[Ambroise Vollard]]'s gallery where both he and Gauguin were represented.

Concerning Gauguin's impact on Picasso, [[John Richardson (art historian)|John Richardson]] wrote: <blockquote> The 1906 exhibition of Gauguin's work left Picasso more than ever in this artist's thrall. Gauguin demonstrated the most disparate types of art—not to speak of elements from metaphysics, ethnology, symbolism, the Bible, classical myths, and much else besides—could be combined into a synthesis that was of its time yet timeless. An artist could also confound conventional notions of beauty, he demonstrated, by harnessing his demons to the dark gods (not necessarily Tahitian ones) and tapping a new source of divine energy. If in later years Picasso played down his debt to Gauguin, there is no doubt that between 1905 and 1907 he felt a very close kinship with this other Paul, who prided himself on Spanish genes inherited from his Peruvian grandmother. Had not Picasso signed himself 'Paul' in Gauguin's honor.<ref>Richardson 1991, 461.</ref></blockquote>

Both David Sweetman and John Richardson point to the Gauguin sculpture called ''[[Oviri]]'' (literally meaning 'savage'), the gruesome phallic figure of the Tahitian goddess of life and death that was intended for Gauguin's grave, exhibited in the 1906 retrospective exhibition that even more directly led to ''Les Demoiselles.'' Sweetman writes, "Gauguin's statue ''Oviri,'' which was prominently displayed in 1906, was to stimulate Picasso's interest in both sculpture and ceramics, while the woodcuts would reinforce his interest in print-making, though it was the element of the primitive in all of them which most conditioned the direction that Picasso's art would take. This interest would culminate in the seminal ''Les Demoiselles d'Avignon''."<ref>Sweetman, 562–563.</ref>

According to Richardson, <blockquote>Picasso's interest in [[stoneware]] was further stimulated by the examples he saw at the 1906 Gauguin retrospective at the [[Salon d'Automne]]. The most disturbing of those ceramics (one that Picasso might have already seen at Vollard's) was the gruesome ''Oviri.'' Until 1987, when the [[Musée d'Orsay]] acquired this little-known work (exhibited only once since 1906) it had never been recognized as the masterpiece it is, let alone recognized for its relevance to the works leading up to the ''Demoiselles.'' Although just under 30 inches high, ''Oviri'' has an awesome presence, as befits a monument intended for Gauguin's grave. Picasso was very struck by ''Oviri.'' 50 years later he was delighted when [Douglas] Cooper and I told him that we had come upon this sculpture in a collection that also included the original plaster of his cubist head. Has it been a revelation, like [[Iberians|Iberian]] sculpture? Picasso's shrug was grudgingly affirmative. He was always loath to admit Gauguin's role in setting him on the road to Primitivism.<ref>Richardson 1991, 459.</ref></blockquote>