Paul Gauguin Avant-garde?

            Since the beginning of avant-gardism, there have been many different definitions to qualify a work of art as being avant-garde. Saint-Simon thought that if the piece helps move society forward by capturing current issues it should be classified as Avant-garde. This new style encouraged artists to be radical with their techniques. While others like Greenburg thought that avant-garde art should just be aesthetic, through the use of new radical techniques. While others considered artists avant-garde if they challenged the ideals of the Academy; which was smooth brushstrokes, historical or mythological subject matter with an interest in perspective and illusionism.  Griselda Pollock, a feminist art historian, thought that a work of art must reference, deference and difference to be regarded as avant-garde. In 1889, Gauguin painted The Yellow Christ which may comply with Pollock’s idea of avant-gardism.

The first part of Pollock’s requirement for avant-garde art is reference. To reference an artist needs to show an awareness of current happenings in the art world. At the time of Gauguin’s painting male artists were far more revered, than female artists, and deemed superior. If one compares Gauguin’s Self-Portrait of 1889 to The Yellow Christ, one could make the connection that Gauguin incorporated his self-portrait in Christ. He is able to reference male superiority in connection with Christ’s religious authority. Gauguin further references the idea by emphasizing Christ who is nearly in the center of the piece, and takes up more of the canvas than the other figures. In my option, when I look at the painting I feel as though my eyes are almost trapped looking at Christ, because of the way that Gauguin cropped the cross at the top, and covered a section of the bottom with a figure. Even though the background landscape has the same yellow color as Christ, the juxtaposition of the cross also helps make him more prominent.

            The second part of Pollock’s ideal Avant-garde painting would utilize deference. To defer, an artist would need to give reverence to the latest radical developments which may refer to radical techniques. Gauguin’s painting of The Yellow Christ defers some Impressionistic styles. The painting is of an outdoor scene, this shows an interest in light and color which is typical of Impressionistic art. Gauguin also uses loose painterly brushstrokes and bright colors.

            The last and most important part to Pollock’s ideal to become truly Avant-garde is difference. An artist can establish difference by showing that they are moving forward on current issues. Gauguin’s painting of The Yellow Christ differentiates itself well from the aesthetics of Impressionistic art. Though he painting does defer some styles, he rejects most Impressionistic characteristics. His painting is of the outdoors yet does not show the urbanization of Paris. Impressionism utilizes extreme realism while Gauguin does not, he has dark outlines. Gauguin moves away from naturalism and realism to abstracted forms. There is evidence of primitivism through the use of nature without industrialization. The Yellow Christ depicts a simple way of living with women figures to represent fertility and life. Gauguin is able to move forward with aesthetics. I do not think that he moves forward on issue of male superiority. I feel as though he only refers to it and maybe even solidifies male superiority through the use of Christ, it could be that Gauguin does not want to change his superiority in the art world.

Griselda Pollock finds that if a work of art is able to reference, deference and difference it should be deemed Avant-garde. After analyzing whether or not Paul Gauguin’s painting The Yellow Christ should be considered Avant-garde, I find that Pollock would be satisfied by Gauguin painting because he was able to refer to an art world issue, defer Impressionistic styles, and then he differentiates himself with his own style.