At the end of the nineteenth century, the fan as a subject for painting departed from its traditional form. It was not the «fan as object» that interested the Impressionists, Pos-Impressionists and Nabis, but rather the «fan shape» and the possibilities for plastic expression it provided. This book presents Gauguin's fans in the overall context of his oeuvre and shows that the painter expressed himself in this medium with the same exacting standards as in his other works. In the sense, it helps to complete our knowledge of an artist who for too long, and unjustifiably so, unsettled art-lovers' points of reference. Gauguin appears here as the master of his exceptional logic.
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"On n'est pas dans le futurisme, mais dans un drame bourgeois ou un thriller atmosphérique"
L'auteur se glisse en reporter discret au sein de sa propre famille pour en dresser un portrait d'une humanité forte et fragile
Au Rwanda, l'itinéraire d'une femme entre rêve d'idéal et souvenirs destructeurs
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