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43          <li class="dropdown"><a href="#"><span>Masterpieces by Paul Gauguin</span> <i class="bi bi-chevron-down"></i></a>
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45								<li><a href="/vision-after-the-sermon.jsp">Vision after the Sermon, 1888 by Paul Gauguin</a></li>
46								<li><a href="/the-painter-of-sunflowers.jsp">The Painter of Sunflowers, 1888 by Paul Gauguin</a></li>
47								<li><a href="/night-cafe-at-arles.jsp">Cafe at Arles, 1888, by Paul Gauguin</a></li>
48								<li><a href="/still-life-with-three-puppies.jsp">Still Life with Three Puppies, 1888 by Paul Gauguin</a></li>
49								<li><a href="/self-portrait.jsp">Self-Portrait, 1889 by Paul Gauguin</a></li>
50								<li><a href="/self-portrait-1888.jsp">Self portrait 1888 by Paul Gauguin</a></li>
51								<li><a href="/the-yellow-christ.jsp">The Yellow Christ,	1889 by Paul Gauguin</a></li>
52								<li><a href="/the-green-christ.jsp">The Green Christ, 1889 by Paul Gauguin</a></li>
53								<li><a href="/hail-mary.jsp">Hail Mary,	1891 by Paul Gauguin</a></li>
54								<li><a href="/melancholy.jsp">Melancholy, 1891 by Paul Gauguin</a></li>
55								<li><a href="/tahitian-women.jsp">Tahitian Women, 1891 by Paul Gauguin</a></li>
56								<li><a href="/the-spirit-of-the-dead-watches.jsp">The Spirit of the Dead Watches, 1892 by Paul Gauguin</a></li>
57								<li><a href="/are-you-jealous.jsp">Are you jealous?	1892 by Paul Gauguin</a></li>
58								<li><a href="/by-the-sea.jsp">By the Sea, 1892 by Paul Gauguin</a></li>
59								<li><a href="/ta-matete.jsp">Ta Matete, 1892 by Paul Gauguin</a></li>
60								<li><a href="/siesta.jsp">Siesta,1893 by Paul Gauguin</a></li>
61								<li><a href="/the-day-of-the-god.jsp">The Day of the God, 1894 by Paul Gauguin</a></li>
62								<li><a href="/nativity.jsp">Nativity, 1896 by Paul Gauguin</a></li>
63								<li><a href="/why-are-you-angry.jsp">Why Are You Angry,	1896 by Paul Gauguin</a></li>
64								<li><a href="/perfect-days.jsp">Perfect Days, 1896 by Paul Gauguin</a></li>
65								<li><a href="/where-do-we-come-from-what-are-we.jsp">Where Do We Come From? What Are We? Wher Are We Going? 1897 by Paul Gauguin</a></li>
66								<li><a href="/nevermore.jsp">Nevermore, 1897 by Paul Gauguin</a></li>
67								<li><a href="/tahitian-women-on-the-beach.jsp">Tahitian	Women on the Beach, 1891 by Paul Gauguin</a></li>
68								<li><a href="/two-tahitian-women.jsp">Two Tahitian Women, 1899 by Paul Gauguin</a></li>
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87            <h1>Vision After the Sermon, 1888 by Paul Gauguin</h1>
88          </div>
89
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92              <figure class="figure">
93                  <img loading="lazy" src="/assets/img/paintings/vision-after-the-sermon.jpg" class="figure-img img-fluid" alt="Vision After the Sermon, 1888 by Paul Gauguin">
94                  <figcaption class="figure-caption text-right">Vision After the Sermon, 1888 by Paul Gauguin</figcaption>
95              </figure>
96
97              <p>In the summer of 1888, young Emile Bernard, his head full of theories that would overturn Impressionism, arrived in Pont-Aven where Gauguin had been working. Out of their meeting was born "synthetism," of which 
98              <b>Vision After the Sermon</b>, painted at that time, was the first complete result.
99              </p>
100              <p>				 
101              It is a bold picture, a religious painting conceived and executed with the faith of a convert to a new artistic credo, but the two faiths were not unrelated in Gauguin's mind: "A word of advice," he wrote to Schuffenecker, "don't copy 
102              nature too much. Art is an abstraction; derive this abstraction from nature while dreaming before it, and think more of the creation which will result [than of the model]. This is the only way of mounting toward Godoing as our Divine 
103              Master does, create." Thus Gauguin has imagined a peasant vision induced in minds of great and simple faith by a Sunday sermon. In the foreground the peasant women, their backs turned to us, excluding us, as it were, from what they alone 
104              can see; in the background the symbolic struggle, two tiny figures on an expanse of unreal red that might be a field or might be the sky. Everything is painted in flat colors separated by clearly drawn contours in a way that is at the 
105              opposite pole from Impressionism. There is no color modeling, no blurred edges, no softening of form or hue by an intervening, unifying atmosphere. The unmodu-lated areas of white, black, blue, and red startle the eye by their contrast; 
106              the middle ground has been deliberately omitted to separate the peasants and their vision. For the first time Gauguin gives his composition a pulsating unity by employing throughout the curving, rhythmic contour that is to recur in so 
107              many future paintings.
108              </p>
109			        <p>The picture's sources are many: the bent diagonal of the tree trunk and the downward perspective, as well as the outlines suggest the Japanese woodcut generally, while the wrestlers are from a particular print by Hokusai'; the outlines 
110			        and the flat, bold colors are akin to medieval stained glass and the woodblock of the <i>images d'Epinal</i>, both devoted to religious subjects; Impressionism is still evident in the way the frame cuts off the figures. All these sources have 
111			        been put at the service of a new conception.
112			        </p>
113              <p>
114			        "I believe," wrote Gauguin to <a href="http://www.vincentvangogh.org">Van Gogh</a>, "I have attained in these figures a great rustic and superstitious simplicity. It is all very severe."
115			        </p>
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