Jacques Enguerrand GOURGE - The Tragic Pleasure .

Page1
Fritz-Gerald Louis
Degree in Art History and Archaeology, History Master of Art
Faculty of IERAH / ISERRS of the State University of Haiti
(November 2011)
Jacques Enguerrand GOURGE:

The Tragic Pleasure ...
Dissertation for obtaining the degree in History of Art and Archaeology
Institute of African Studies and Research of Haiti

State University of Haiti.
A document produced in digital version by Jean-Marie Tremblay, volunteer,

Professor of Sociology at the Cgep de Chicoutimi
e-mail: jean-marie_tremblay@uqac.ca
Educational website: http://www.uqac.ca/jmt-sociologue/
Under "Traditional social science"
A digital library founded and directed by Jean-Marie Tremblay
Professor of Sociology at the Cgep de Chicoutimi
Website: http://classiques.uqac.ca/
A collection developed in collaboration with the Library
Paul-mile-Boulet of the Universit du Qubec Chicoutimi
Website: http://bibliotheque.uqac.ca/
Page2
Fritz Grarl-Louis, Jacques Enguerrand Gourgue: the pleasure of tragedy. (2011)2
Use policy
Library Classics
Any reproduction and redistribution of our les is prohibited

even the mention of their source, without the authorization form
mal, written, the founder of the Classics of Social Sciences,
Jean-Marie Tremblay, sociologist.
Files of Social Sciences Classics can
without formal authorization:
- Be accommodated (as a le or web page, in whole or in part)
on a server other than the Classic.
- As a working base to another le then modied
any other means (color, font, layout, extract, mount,
etc ...),
Files (.html, .doc, .pdf, .rtf, .jpg, .gif) available on the website
The Classics of Social Sciences are the property of Classi
c of Social Sciences, a non-prot organization composed exclusively of volunteers.
They are available for use with intellectual and personally
the and, in any case, commercial. Any use for commercial les on this site is strictly prohibited and any
replay is also strictly prohibited.
Access to our work is free and open to all user
tors. This is our mission.

Jean-Marie Tremblay, sociologist
Founder and CEO,
CLASSICS OF SOCIAL SCIENCES.
page3
This electronic edition was conducted by Jean-Marie Tremblay, volunteer,

Professor of Sociology at the Cgep de Chicoutimi from:
Fritz-Gerald LOUIS
Dissertation for obtaining the degree in Art History and Ar
archeology, Institute of African Studies and Research of Haiti, University of State of Haiti. Port-au-Prince, Haiti, November 2011, 50 pp.
[Formal permission granted by the author October 19, 2014 to distribute this
text, freely accessible to all, in The Classics of Social Sciences.]
Email: Fritz-Gerald Louis:
fglouis2002@yahoo.com
Ricarson DORCE:
dorce87@yahoo.fr
Florence Piron, meadows. Association science and the common good:
Florence.Piron@com.ulaval.ca
Fonts used:
For the text: Times New Roman, 14 points.
For footnotes page: Times New Roman, 12 points.
Electronic edition produced with the processing Microsoft Word documents
2008 for Macintosh.
Paper layout Format: US Letter, 8.5 '' x 11 ''.
Digital publishing made October 21, 2014 in Chicoutimi,
City of Saguenay, Quebec.
page4
This book is published in partnership with the Science Association

common good Chaired by Ms. Florence Piron, professeure at Laval University, and State University of Haiti .
Thank you to the Association for allowing the distribution of this book
in The Classics of Social Sciences, through the creation
of the collection: "Haitian Studies".
Jean-Marie Tremblay, CQ,

Sociologist, founder and CEO,
The Classics of Social Sciences
October 21, 2014.
page5
Fritz-Gerald Louis
Degree in Art History and Archaeology, History Master of Art
Faculty of IERAH / ISERRS of the State University of Haiti

Dissertation for obtaining the degree in Art History and Ar

archeology, Institute of African Studies and Research of Haiti, University of State of Haiti. Port-au-Prince, Haiti, November 2011, 50 pp.
page6
[2]
Contents
Jacques Enguerrand Gourgue [3]

The pleasure of tragedy [3]
Dedication [4]
Thanks [5]
Introduction [6]
I- Jacques Enguerrand GOURGUE: emotional life [8]
II- The shocking Work of Jacques Enguerrand GOURGUE [14]
A- Main Currents through the work of Gourgue [15]
a.1 From primitivism to modernity [15]

a.2 Realism cruelty [16]
a.3 atrocious Surrealism [17]
B- The topics treated Gourgue [18]
b-1 Gourgue, dry landscape painter [19]
b.2 Sinister Still life [21]
b.3 Gourgue, Vodou painter or sacrice [22]
C- plastic values [24]
c.1 Light and sharp colors used [24]
c.2 Inuences [26]
D Painting: Travel and Culture [28]
d.1 Loan with wonderful [28]
d.2 The Spanish debt [29]
page7
III Contribution of Jacques Enguerrand GOURGUE to paint hatiennot: a political and social tragedy [31]
A- The tragic in his art [32]
a.1 Connected with Fantastic and the Kabalistic [32]
a.2 Art Choc [33]
a.3 The mastery of tragedy [34]
B- Painter socially and politically engaged [37]
Conclusion [39]
References [41]
Annexes [43]
page8
[3]
page9
[4]

DEDICATION
In memory of my aunt dedicated ANNA LOUIS BARON.

As a loving testimony of my respect and gratitude.
Back to Table of Contents
page10
Fritz Grarl-Louis, Jacques Enguerrand Gourgue: the pleasure of tragedy. (2011)
10
[5]

THANKS

This work would not have been possible without the help and patience of the proSterlin teachers Ulysses, Dr. Marc J. Desire and Rhodner Orisma. Seaone for judgments and corrections.
The staff of the Museum of Haitian Art College Saint Pierre, specially the Director Dr. Michel Philippe Lerebours which home
nor his condence by letting me work freely in this Spanthis and for putting at my disposal documents and works of art.
I express my gratitude to Mr. Felix Pierre-Louis, to
moral assistance every day to achieve this uvre.
My thanks also go to Liliane Beloved Thomas
for any nancial support throughout my cycle
study.
I could never complete this work without the valuable advice
Professor Pierre Buteau and also those of Delano Morel, of
Bernard Ilfrard and Carl Toussaint Ramses.
I also say a big thank you to all my family for their supHarbor. To my friends and colleagues whose Ulrick St Louis, Gabrielle C. Romans
sier and Clermont Berthony who greatly encouraged me to work
hard in order to complete this study.
Finally to all those who in one way or another, have conuted, thank you!
page11
11
[6]

INTRODUCTION

The art in the lives of the Haitian people is complex. It has several factors including those African, Indian and European. Since the
colonial period art held an important place in the bustling
social life. According to Michel Philippe Lerebours, the settlers want to
impersonate noble, so they bring in foreign painters
in the colony to be painted, showing off all their goods. They
have not hesitated to initiate their slaves to the art of painting.
After independence, arts education was part of the preoccupations of the fathers of the Fatherland. So have emerged artists
who continued the tradition of portraiture bequeathed by colons. However, indigenist painters that have evolved over the
1930, without breaking completely with the tradition aroused, will
especially highlighting the Haitian landscape. So they put a focus
especially on the lives of the Haitian peasant with freshness and originality. In
1944 Art Centre is born under the inuence of Dewitt Peters (19011966) whose mission was to train painters, give them espace to exhibit their work. These objectives have not taken too much
time to change, because the discovery of naive art and its success
abroad gave a new vision to the art center, that of promove primitive painting. Irritated by this new direction,
page12
12
some artists separate from Art Center in 1950 to create the

Foyer des Arts Plastiques (FDAP). Thus Jacques EnguerGourgue rand, returned to the Art Center will continue its training
Home to return again to the Centre in 1951, a year after.
The painting of Gourgue is little known outside the circle of
specialists. Three art critics "Michel Philippe Lerebours Mary
Jose Nadal and Gerald Bloncourt "in their [7] respective book: Haiti
and the Masters (1989) and Haitian painting (1987) study Brietively his work. This monograph is therefore to put in
value and make known to the public the work of Jacques InGuerrand Gourgue.
In descriptive and iconographic analysis of twelve paintings studies
ied in this work emerges an understanding of the tragic pleasure
than. The name of this monograph "the pleasure of the tragic" is
a feeling of admiration and the result of personal satisfaction
Proven by doing it, because the artistic career of Gourgue
is marked by a series of misery, suffering, fear and dedespair. The painter used to own guns his mood, his
ideal. This is the perfect pain. All his work bears the imprint
Rule the cost of fate
1. It creates terror and suffering.
The artist gave the audience happy in a black humor that is without
After a fun directly linked to painful force, a force
antagonistic. What explains the constant presence of the tragic
that in the work of Gourgue?
The answer to this question leads to develop three main points
making it dominate our study: a hectic life; a work
shocking and a political and social tragedy.
Etienne Souriau, Vocabulary of Aesthetics, Paris, Quadriga, PUF, in April 2009,

1358 p.
page13
13
[8]

chapter I
Jacques Enguerrand Gourgue:
emotional life
page14
14
[9]
Contrary to what people think foreign specialists, art priHaitian mitif is far from homogeneous. If it was considered the
painting voodoo for some, and as the party for others, au
cun of these aspects could not nd unanimity among primitive. In
Indeed, they appear to us that in very different ways in
their themes. Unrelated to school, ooded with self-learning,
this world is both quiet and spooky
human beings, still lifes, landscapes, voodoo objects
2 is populated with gods,
etc.
For half a century, primitivism enchanted the world
local and abroad. Exerting such inuence on the history of
this painting, Haitian painters have made genuine value
in the art that even today when we refer to them, the voltage was
dance to speak painters of the 1950s, however, twenty years
Earlier, US Under Occupation of Haiti (1915-1934), there was a
cultural revolt during which the Haitian identity was maintained
the refusal to assimilate the culture of the occupant. this refusal
Assimilation
is named
In this
climate
of nativism, was
born inIndigenism.
Port-au-Prince
a great
painter, who almilk paint with great clarity a picture of a tragic world.
This painter Jacques Enguerrand Gourgue, born October 26, 1930.
It is also worth noting that this date also coincides with
the infrastructure development: the phone was installed in Port-au-Prince,
ports were equipped with docks and lighthouses, a health service was
developed with hospitals, one thousand seven hundred kilometers of roads melting
rent created and maintained
3.
[10]
2
3
Michel Philippe Lerebours, Haiti and its painters, from 1804 to 1980, Volume II,
Port-au-Prince, Printer II 1989, p.92.
Unknown History of Haiti (1915- 1986), in www.wikipedia.org , on-line
December 28, 2011, accessed January 16, 2012.
page15
15
Gourgue spent a troubled childhood in the church quarter

St. Anthony located at the Avenue Poupelard. This area carries general
ral father's name Poupelard who solicited Mr Tancred Auguste,
after the approval of the Vatican, permission to erect a chapel
honor of St. Anthony of Padua. This request was granted on 20
March 1900
4.
Gourgue his primary education at the congregational school Jean MaGuilloux series, the rst school of the Brothers of Christian Instruction
in Haiti. He started his secondary education at the Lyce Alexandre Ption
which at that time was a great school and most intellectual
tual were there.
The year 1946 was a decisive year for Gourgue, which has
known his return to Art Center as mentioned above. Beautifulcoup demonstrations were also held in Port-au-Prince during
This year, among which there was a revolutionary movement
settling in the capital and major provincial cities.
Further, we saw the release of Compere General Soleil (1955) of
Jacques Stephen Alexis (1922-1961), the book that sparked all
hopes, beliefs of a generation. In this movement
began talent, vitality, dynamism and momentum of creativGourgue side of the Art Center.
Despite all the fuss, Gourgue happen to make a year
later The Magic Table,
5 table that reveals the artistic world
tick. This painting was exhibited and acquired by the Museum of Modern Art
New York, one of the largest museums in the world. She always
Part of the collection of that museum.
[11]
In 1949 there was the celebration of the bicentennial of the founding of
Port au Prince. On this occasion were organized large manicultural events, craft, art, folklore and trade
cial during which a painting exhibition was honored.
4
5
Unknown, Parishes Catholics Hait i, in www.haiti-reference.com , put in

Online July 31, 2001, accessed June 16, 2011.
Michel Philippe Lerebours, Op cit, p. 90.
page16
16
Aged 19, Gourgue has won a gold medal for the pre6.
presentation of his works
In September 1950, some artists have decided to break with the
Art Center as Lucien Price, Max Pinchinat, Dieudonn CEDOR,
Roland Dorcely to found the Foyer des Arts Plastiques
(FDAP). The Art Center was for them an American institution related
the Embassy of the United States and whose role was more ambiguous
the eyes of the Haitian intellectuals, like those of the general public
foreign. Gourgue therefore participated in the foundation of FDAP.
The inauguration was ofcially August 11, 1950 in a local
located in Center Street. The FDAP set as its goal
better educate primitive, broaden their culture and approach au
tration of the painter profession. This replace wanted to destroy the spirit
adventure that existed at the Art Center since 1946. However, it
necessary nor hinder their personality or destroy the original side of their
talent. The art becomes a rational activity that uses
specic knowledge. The FDAP is a real training seat
Artistic where it provides courses in painting, decorating and

drawing. For the survival of the Foyer, mutual aid prevailing in the
painters.
During the 1960s, modernity had already deeply ca8. In this perspective
terized the visual arts in Europe
starts the modern orientation of Gourgue which then gave the
wheelbases
9 to rely on graphics
10. Given that
a [12] discovered the extent of distortions in his works, he simplied
e kinds, geometrises, thinned his characters, stretches them,
also analysis. This period marks the advent of Gourgue
as sophisticated painter.
Marie Jose Nadal, Elisabeth Bell, Gerald Bloncourt, The Haitian painting,
Paris, Nathan edition, p.89.
7 Michel Philippe Lerebours, Op cit, p.9.
8 Philippe Becoulet, Dialogue real and the imaginary, Paris, edition StrasTown 1990, p.98.
9 We talk wheelbase when a painting is spread thickly.
10 Graphic design is a linear mark left by the brush and therefore mateSerialization of the gesture of one who draws.
page17
17
Ten years later, luckily Gourgue be forced to leave

Haiti's capital when he learned that Dr. Franois Duvabind was re-elected as president for life. He emigrated to Spain
where Francoism still reigned. Shortly before his death in 1974,
Franco inaugurated the Museo de Arte Contemporaneo Spanish.
The opening of this museum has contributed to the construction of other museums
in many Spanish cities. Gourgue was also witness
these events between the late 1970s and early
1980 while working under the direction of the historian Javier
Tusell (1945-2005), a series of cultural exhibitions gures
long excluded from artistic debate. He was fortunate to attend
major retrospectives devoted to artists such as Joan Mir
(1893-1983), the designer Josep Renau (1907-1982) which are
of considerable importance. This observation time in life
Artistic Gourgue named after Spanish period. His style
was strongly inuenced by the Surrealists technical
has more intellectualized building on overlays
shapes and transparency while it is in direct contact with
works of great masters of Spanish painting as Salvador
Dali (1904-1989) for example. Our lack of information concerning
ing the Spanish period of Gourgue in particular his privacy
prevents us from understanding why he left
Spain in 1992 to return to the homeland.
[13]
Under the presidency of Jean Bertrand Aristide, he made a great
fresco that decorated the ag of Haiti in the Universal Exhibition of Secity. His painting then acquired simplicity and rationality. Realisant surrealist paintings, although still concerned about the drama
11.A Style
Haitian
heits
interprets
in its shallows,
shows
that
maintains
independence
by working
alone
inGourgue
his studio during
the embargo which paralyzed the country. The years that followed were in
a struggle for the artist facing his illness. With a serious
fever and suffered a cardiac arrest and died in June 1996
the age of 66 years.
11 Michel Philippe Lerebours, Op cit, p. 95.
page18
18
[14]

chapter II
The Work of shocking
Jacques Enguerrand GOURGUE
page19
19
[15]
Main current Athrough the work of Gourgue
a.1. Primitivism to modernity

Upon arrival at the Art Center in 1946, Jacques Enguerrand Gourgue found the Centre in deep anxiety caused by
works of Cuban painters from a year earlier
12. hard structures
Rees, these works were produced by painters who lived in
the greatest artistic centers of the Western world. these painters
had mastered the theories avant-garde, while ours are
were barely aware.
In 1945, as part of a Haitian-French cooperation encouraged by the French Institute, Andr Breton (1896-1966) came to
Haiti to give lectures in order to present the current
surrealist. He is the initiator of the surrealist art movement. It is

the author of many books including: The Wonderful Mirror (1962)
The human and Construction (1936)
13. His presence on Haitian soil
Yours is seen as the icing on the cake.
In 1970, Gourgue, as indicated above, except for Madrid.
Thus began his Spanish period. He was in direct contact
with the works of European masters. He spent his hours
free to observe works of art in galleries and museums. the
During this period, Gourgue cultivates a different aesthetic
that of his fellow Haitians. So analyzing his characters in the
12 Gerald Alexis, "The inuence of the Cuban custody before the rst
Haitian modern painters ", in conjunction, No. 201, 1996, p.16.
13 Paul Laraque, "Andr Breton in Haiti", in conjunction, No. 193, June 1992
p.46.
page20
20
shrinking while working on the form. In the words of [16] Pablo Picasso (1881-1973), I do not seek, I nd
holds a result of the simplication and geometrization.
14, Obtained Gourgue
a.2. Realism cruelty

Editor Denis Villard (1940-2004) said Davertige a
new trend emerges, it is the cruelty of realism. As
the name suggests, it is a cruel art to dimensions of the condition
terrible made in Haiti in the slums of Port-au-Prince
It is an art that is characterized primarily by the debauchery of
light and color profusion. The painters of this current
carried away by the ugliness and monstrosities like
sing despair shallows. Anyway, it is important
Note that these artists were inuenced by Hieronymus Bosch (14531516), Francisco Jos de Goya (1746-1826), Edward Munch (18631944) to name a few. By equating these techniques
Western, while borrowing grotesque shapes, they will make the
relive horror in a clean atmosphere to some legends
Haitian. This art, intended to shock, to upset, to cause
indignation and revolt, saw its peak between 1953 and 1966
FDAP. It also tends to seek, to discover the essence of drama. he
had its roots in reality, borrowed elements with typical
cally related to the Haitian reality, but the disguring
before projecting them on the canvas. The objective of these painters is
horrify the public. Gourgue is one of Haitian artists who have suffered
the inuence of the cruel realism, despite the fact that his painting
projects a demonic picture reecting the suffering, misery and
the [17] poverty. The painting entitled The Graveyard (Fig.1) represents
clearly this realism of cruelty, because it reects a ood misery to workto tree branches.
15.
14 Unknown, The Arts, in www. Evene.fr, posted September 24, 2009,

accessed 16 October 2011.
15 Ibid, p 125.
page21
21
a.3. atrocious Surrealism

The art historian Michel Philippe Lerebours revealed in his livre Haiti and its Painters (1989) that: Jacques Enguerrand Gourgue
loved being in the company of people who told stories
werewolves and later when he went to bed, he had
nightmares
16 . This refers us directly to a surreality, which is
a reality encompassing a dream. It is the exploration of dreams and
madness. The surrealist painters translate their dreams and words
on canvas and repress their dreams with their brushes. the overrealism put emphasize concepts provided by the unconscious, the
chance, madness, dreams and even hallucinations. All these states
psychic may create in the imagination of the true artist
masterpieces. Andr Breton was to dene: Surrealism as

being pure psychic automatism by which we propose
to express the real functioning of thought
17.
The experience of Gourgue in Spain in 1970 was strongly inenced by the surrealist movement. However, no one can neglect
that the characteristics of surrealism are already reected in the
Most of his works, within the spirit of rebellion, provocation,
the release of vast new horizons for the actual reports
Imagination
18. Note that the Cuban surrealist painter Carlos
Enriquez (1900-1957) has repeatedly shown his work [18] at the Centre
Art and be lectured on the surrealist movement. he
Probably Gourgue has a gain of these exposures and gaLEMENT these conferences.
During this period of calm lived in the Spanish capital,
Gourgue attended a agship works of great painters in
museums and galleries. The concern has invaded its aesthetic qualities
c.
16 Op cit, p. 90.
17 Andr Breton, Surrealist Manifesto, in Collected Works, Volume I, Paris,
Gallimard, 1988 p.328.
18 Ren Depestre, Op cit, p.235.
page22
22
This is a common structured on psychoanalysis by making use

19. This is a dictation
shapes, and familiar objects but distorted
ted of thought in the absence of any control exercised by reason, in
from any aesthetic or moral concern as is
Breton. Since Gourgue had in his directory
criteria making it a surreal, he simply rened, intellectual
tualis its art and craftsmanship.
Each artist works individually on his worldview,
without worrying about the others. The surreal atmosphere that depledge in his works, Gourgue brought a scary mystery
his artistic activities. Anxiety feelings and strangeness of certain encounters with unknown sources allowed him to update
his mysterious impressions intended to express the irrational while
keeping a human aspect.
B- The topics treated Gourgue

Jacques Enguerrand Gourgue is one of the painters who won
with pride and gusto to the world of Haitian art. He knew from the beginning of its
career, forging an artistic mingling of wonderful
with the tragedy in Haiti pictorial universe. He had the courage to
[19] expose the tragedy of his paintings. He was very interested
the peasantry, which was still suffering from quarantine
suffered since independence. The voodoo religion as despised
dominates his paintings, objects decorated with still life, and nally
ing his surrealist paintings.
19 Ren Depestre, Op cit, p.234.
page23
23
b-1. Gourgue, dry landscape painter

On entry, the Centre d'Art, Gourgue was placed among the poplar
20. He realized years later for tables the proproblem of the Haitian countryside. The landscape, which became his theme
favorite, made him the landscape painter. The peasantry was last
fashion with Indigenism, a genre born on purpose to describe life
men and rural women. However, gender

landscape that has existed since colonial times is a tradition
local landscape, as demonstrated by the table painting Mr.
of Berreau in the countryside of Saint Domingue
21.
It is easy to give in to the creative imagination of Gourgue face

rural life. The latter found the peasantry in many subjects
inspiration. For him, the rural environment is the key to popular.
The trees, the ground, the wind, the rivers, the cottages provide to
generations of painters an inexhaustible source of attitudes representation
tives of rural life. Through his paintings on the peasantry, he realized
a wonderful world. The wonderful is everything in life
22. The
away from the natural and ordinary facts and ideas

sleep trees, cruelty tree branches, mountains
peeled out of his imagination are [20] so that such views
are. Diderot had to say: man loves the marvelous, I myself
catch myself at any time about to deliver me
telluric and social ments of the Haitian world were at the rough pro-
23. The ele-
problematic of slavery, enlarged and knotted in a complex system

symbolic or mythic collusion. One of the undoubted masters
ties of this kind, Gourgue was able to achieve with more rigor and
glare aesthetic program that represents nature.
In a frenzy of shapes, colors and terror, he brought
20
21
22
23
Michel Philippe Lerebours, Op cit, p. 90.

Cit, p.90.
Cit, p.236.
Ren Depestre, Hello and goodbye to blackness, Edition Robert Laffont, Paris,
1980 p.236.
page24
24
all eyes to her paintings. It seeks to remove urban life

to glorify nature and peasant labor. He looked the part
natural as was the Barbizon School
24. The landscape is a way
to assert a geographic identity. He paints a landscape riddled with
erosion, trees devoid of sap, desert hills, the
dilapidated huts qui give an appearance quite scary
The cemetery (Fig.1) is for example the Work That Describes the cruelty of
thesis branches of trees.
Graveyard
Oil on Masonite
24 x 16
Red Carpet Gallery Collection (Fig. 1)
25.
[21]
Was gourgue ble to expose in the sight of all, the rural world as a
world abandoned and despised in favor of urban areas. Possessing
wild trees and devoid of infrastructure, world
in the hills. Concluding que la farmer is to be poor,
working the land and living a miserable way in Gourgue HAS
His works, illustrated the plight of These people, Their way of
Their homes clothe roof covered with straw, made of wood and
lime. With His paintings Describing the peasant is one kind Gourgue
24 Barbizon is a town Where resided from 1825 to 1875 the skyline painters
different from working in the forest of blue fountain in order to nd a
direct contact with nature. It is the school of trees.
25 Michel Philippe Lerebours, Op cit , p. 282.
page25
Fritz Grarl Louis Jacques Enguerrand Gourgue. The pleasure of tragedy (2011)
25
Who painters turned the viewer's focus Reviews towards the middle rustiThat so long mistreated, despised, humiliated by the urban world.
Faithful to reality, he participated in the development of a current That
wanted to offer the Haitian far abroad the ultimate joy of
marvel at the typical Haitian paintings.

b.2 Still Grim

The "sinister still life" concept differs from Gourgue
the "still life" approach Itself. This approach is the value
riation on the theme of the presentation of items still to know:
objects, owers, fruit, dead animals, etc. The kind
Still the problem of silence in the pictorial world
concept Implemented by Gourgue Involves vulture Elements
dou and animal aussi link with fruit. To give a
tragic aspects to the work. The predominant color in Their vessels by
relative to the line. The artist arrived in the dynamics of forms,
reject sensuality to detonate the dark feelings
qui adds a tinge of terror or bewildering shock. Gourgue
[22] THUS Appears as a sinister artist. On this line ( Life
with fruit and sh , Fig.2) one can see the illusionist scope
of the artist.
26. The
26 Unknown, "Still Life" in Fr.wikipedia.org , posted on 11 January 2003, accessed September 19, 2011.
page26
26
Life with fruit and sh

Oil on canvas
22 x 14
Red Carpet Gallery Collection (Fig. 2)
b.3. Gourgue, painter of Voodoo

sacrice or

Voodoo is a religion born of a syncretism of the doctrine catholique and African beliefs. Voodoo is indisputably
One of the Elements Haitian culture. Most Haitians
marked by the seal of voodoo DESPITE Belonging to the Catholic
cism or Protestantism. Voodoo gave the Haitian people has
Particular vision of the world and marked her personality As Was the
If Christianity HAD permeated the medieval thought
Western Europe. It is still regarded religion populaire and rural. It is Often Looked with contempt tinged with hypocrisy
by aristocrats of the urban world. This cult brand deeply
popular artistic activities in dance, music
aussi and paint. He played an important role as a source
inspiration [23] in the so-called primitive painting. DESPITE refoulement
ment and persecution dating from the colonial era to the camantisuperstitieuse loincloth triggered in 1941 by the Catholic Church
with the backing of the authority of the state, the rest can be voodoo element
page27
27
cultural shaping as the Haitian mentality. After all, he

Took what Michel Philippe Lerebours called Expired revolution indigenization
ist:
It Took The nativist revolution to see the introduction and

enhancement of the rural world in art. With music and
dance, Anton Jeagerhuber and Lina Mathon Blanchet tried
a revival of art music. The writings, John Price
March calls for rehabilitation of voodoo Because The lath is the
result of a complex cultural background Where the share of Africa
predominates
27.
If the foundations-have-been ugly by Indigenism is well Especially

primitive painting called Expired That Would give the voodoo its true place in
art. In this context, we-have seen emerge Almost spontaneously
Who painters sont galement Priests Of voodoo to Hector hyp- Like
Polite (1894-1948). They do not hesitate to decorate the walls of
Their temple with pictures and representations That Sometimes are obtained
Several paintings of jet.
Recall That in 1946, Gourgue Was returning to Art Center, at the time
ment Where Was Haitian art in the process of Recognizing and exploiting
Popular values of the land. He Would Then Quickly be Noticed by
His style Greatly Dominated by voodoo. It priorisa voodoo
In His works, as if He Had a debt to this cult.
Selon Alfred Metraux, Voodoo ict allows followers to retrouworm a rudimentary form of collective life, to manifest Their
Provide artistic talent and the em [24] exhilarating feeling to enter

28. Gourgue found a source intarisin touch with the supernatural
inspiration of sand in this worship through qui he valorized the emblem
our culture. One can not approach the work without Gourgue
be Initiated into the rites of passage for Accessing the mysteries parque la observation of the work of the lath can silently
awaken strange powers in the watch. Voodoo paintings
27 Michel Philippe Lerebours, Op cit , p 87.
28 Alfred Metraux, Haitian voodoo , Editions Gallimard, Paris, 1956, p.34.
page28
28
the artist gave this purpose. The way he arranges the objects, Creates the
volume and shortcuts, Widely is Described in the Reposoir
(Figure 3), qui contains Such items: vv bottle, drum, purposeogy, gourd, etc. Following this line, Gourgue shows through ict
works deep mysticism in brutal and full of paintings
lights or colors.
Reposoir
Oil on masonite
24x 36
Private collection (Fig. 3)
[25]
C- plastics Values
c.1. Light and sharp colors used

Light is an important ingredient in the composition of youthe pictorial. It can affect the atmosphere of a work. selon Canhavoc, the light Makes and breaks at a time; it forms, it guides the eye
page29
29
the viewer to key items in the table Because the eye is drawn
Reviews towards the light source 29 . It aussi allows separation to Distinguish
guer and designata-even to the table objects.
At Gourgue, light plays an important role. In all icts
representations of the peasantry, His paintings are in bed by lurst ood ltering through trees uncommon since the arrival of the amount
peeled mountains. Its landscape is Evolving from drama to tragedy. If the
front light is usually, it comes Rarely moungenes in the background of a Given book, helps to better sculpt the relief was totally desolate land, It Seems Almost unreal.
landscape
Oil on canvas
24 x 30
[26]
Gourgue, Unlike painters of the festival, current Developed
e century to outdoor scenes Where We painted
in France 18
people in gardens
thirty
Painted rocky mountains,
withered trees Giving immediate special lighting

a strange atmosphere of this world lifeless as Evidenced by the
Table Landscape (Figure 4).
29 Antonio Paolucci, Michelangelo da Caravaggio Meresi , Italy, Arti Grache

Alinari 1990 p.53.
thirtyFernand Hazan, Dictionary of Modern Painting , AME, Paris 1954
P.1110.
page30
thirty
For Kandinsky, the color is a mirror state

31. In the same perspective, Gourgue has the eyes of
lady
more than one, the different levels de son mood. When he started,
he ignored completely Call the concept of light as it attened objects
and destroyed the volume. At That time, he used much red,

"Primary color qui is the color of passion" and the
green 32 "Secondary color, qui is the result of yellow and blue."
Gourgue arrived later to play complementary colors
culminating in a colorful mass balance. In the years
1955-1957, the artist Discovers the light helping to discover the
Following the volume. The gray related entre That takes black and white
possession de son work. After 1962-1965, it darkened color icts
he lost in Their gray or blue gray
33 to Give His
works a fantastic appearance.
To be a good painter, so do not take into account the color
is simply divided into primary, secondary and tertiary. Taking
Then pigments That account can allow to get _him_
wide color varieties, Gourgue-have happened to be Openly
Differentiate ment. In thesis colors, the creative strength we see
the artist.
[27]
c.2. inuences

When Gourgue returned to the Art Center in 1946. It was par- Ofcial
Mid naive painters. Naive Art is a gurative painting style That
caractris In Particular for thoroughness to detail, employment
bright colors and gurative popular topics
34. Four years
31 Vassily Kandinsky, Concerning the Spiritual in art and painting , edition Deroel,
Russia 1989 p.118.
That Wassily Kandinsky (1866-1944) is an artist of Russian

19 e Note
century.
32 Michel Philippe Lerebours, Op cit , p.92.
34 Rousseau , Op cit , 2nd paragraph.
page31
31
Later, it will be Introduced to fashionable Fauvism to FDAP

Was Strongly Inuenced by this current. His painting Entitled Mama
(Fig.5) Demonstrated good.
35. Gourgue
Mama
Oil on canvas
16 x18
[28]
This painting is raw, alive and vibrant color. Griffon
use color as a primary means clustering of expression. They go
mix colors to better make 'em talk. Gourgue will do the
using bright colors-even to better communiquer ict states
lady.
page32
32
All colors draw Their thesis sources of arts and Dahomey

Congolese eg related to voodoo. So It Would not be difculties
not believe que la Haitian painting is Inuenced by African Art
rican. The Therefore, Haitian painting is perpetrated shapes, value
African and Their concepts.
D Painting: Culture and Travel
d.1 the wonderful Loan

The loan to the wonderful, That Is to say the share of borrowing
Components That deviate from the natural and ordinary to
forge a foreign picture human Expected Gives the form
my weird and gains in the overall context of the beliefs and
conditions. In this sense, Andr Comte-Sponville Said
the essential thing is not culture, goal what you make it
36 . THUS Jacques
Enguerrand Gourgue is Who Among Haitian artists set
Obviously Haitian culture. It has striven to Improve the image of the
culture, with [29] focus on our stories, our beliefs That are
Largely contained in the practice of voodoo.
As elsewhere, there are people Who break the Regurglements and, by Their behavior, make a false renown
a cultural reality. Gourgue HAS Responded to Those Who tarnish the
voodoo. He Evacuated the negative by painting the Spiritual Meaning of terms
me. The spiritual inspiration painting and generator can be progress.

It Gives dynamism, vitality and spirit. By this dynamism
me, the painter Went very far, to create works of His
sacred to night and quivering tone. He Knew restore, by cle
36 Andr Comte-Sponville , " Everything Reveals culture," in Express, www.evene.fr , published October 24, 2002, accessed October 16, 2011.
page33
33
Genuine staging
laughing from rituals.
37 and relative lighting, atmosphere mysteri-
d.2 The Spanish debt

Gourgue Lived 22 years in the Spanish capital Located in the
e century in this country are, for the
Iberian Peninsula. The painters 17
Most realistic. They are struck by the realism That comes to

two levels: the level of appearance and the conceptual level. Each
Artist Creates icts That reality it shoulds translate into an autonomous language
. and staff This is realism in various aspects: scenes
cruel, martyrs, saints Undergoing torture, etc. They Represent
aussi feel lousy. These artists insisted characterenact, the object light. The Proposed themes show a tragic look
That Which is reected in the artistic repertoire of Gourgue.
[Thirty]
It Seems That Gourgue Was Inuenced realistic artists of 17
century as Alonso Cano (1601-1667), Francisco de Zurbarn
(1598-1664), and Diego Velazquez (1599-1660). The mystical atmosphere
tick the works of These is found Largely de ces
Gourgue. Two basic attitudes Differ realism
Gourgue: one qui tend to the representation of reality and one in
by ict term allusive metaphor or abstraction. The art
The Therefore gourgue HAS resolutely Committed to a path That is very caacterised by the truth of the realities it Describes. dried trees
he paints with deep thanks raises in the watch has
curiosity to discover The Meaning of reality. His paintings are devoid
idyllic dreams and lled, by cons, the evil and macabre 38. In His works, There Was a Lack of Good Humor
HOWEVER marked by a virulent and black humor. Evidenced
the canvas below.
37 Adam and Eve, see annexes, Fig .3. In this painting, we see a face
to face a ght entre Adam and Eve and the devil.
page34
34
Drum
Oil on canvas
72 x 48
Macondo Gallery (Fig. 6)
[31]
Gourgue is one of the masters of modern painting in Haiti . His
works-have-been EXHIBITED in Germany, Canada, Colombia,
Santo Domingo, the United States, Italy, Puerto Rico, Venezuelan
Including the Yugoslavia
39.
39 Marie Jose Nadal, Elisabeth Bell, Gerald Bloncourt, The Haitian painting ,
Edition Nathan, Paris, 1987, p.65.
page35
35
[32]

chapter III
contribution
Jacques Enguerrand Gourgue
in Haitian painting:
a political and social tragedy
page36
36
[33]
With Jacques Enguerrand Gourgue, the real issue Arises

how He Had time to paint a set of table with a Range of varieties. The shares are Known,
reconrmed, undisputed. Gourgue Haitian painting is That
Goya is painting or Matisse Spanish than French. Gourgue
So is a Well Known painter in the national arts community
and international.
Gourgue is a painter of all time. His works mark encore contemporary painting. His taste for painting leave percomplex places. Engaged in tragic reading of reality hatien-
not, the plastic can not refuse to shocks arts, realism cruauyou. Jean Berthlemy HAD to say: a picture must, Above All, reproduce
the intimate thoughts of the artist
40. praised painter, he is faithful to his
artist commitment. In Such an unusual character, His
Brush mastery is not always accidental. The phrase de son
Obvious works us, we touch the heart. His works choquantes, talent, output is up to Constantly
His pictorial Merits.
A- The tragic In His art

To talk about the tragedy in the art of Gourgue, we must
account two aspects of expertise: its relationship with the fantastic and cabalistic, and shock art.
40 Jean Berthlemy, Treaty of Aesthetics , 6th school editions, Paris, 1964, p.

189.
page37
37
[34]
a.1. Relationship with Fantasy

Cabalistic and

There is Fantasy one hand, and the Kabalistic there Reviews the other hand.
Yet thesis two aspects-have-been always related party. Can be Described
fantastic as the intrusion of unexplained supernatural
Kill entre wonderful and strange in the qui est supernatural action
cepted and share Justied as imaginary and unrealistic. Now is the strange
an event in the supernatural qui est and accepted Explained
normal. So fantasy is on the border of the strange and
the marvelous. It is linked to a Particular Often atmosphere,
41. It if-
kind of tension due to the meeting of the impossible. Fear is

Often this causes anxiety and can in the watch.
All that is obscure and incomprehensible says Cabal
42. the ulips inspired Cabal Introduce the viewer into a universe
qui to everything Acquires Meaning, Where build relationships entre les visitor
ble and hidden and Where appearances are related to the mystery. the
time of rebirth, the Cabal Was this in a very large
number of works and pervades the minds That do not live-have
ment knowledge. The monsters That invade the canvases of GourAlmost gue us back to the atmosphere of the Flemish fairs
of the43.
As Gourgue, some Haitian painters are found in a
Their mysticism surrounding climate and Whose work items and

foreign publications continue to report.
41 Etienne Souriau, aesthetic vocabulary , Quadriga, Paris, in April 2009,

p.729.
42 Cit , p.289.
43 Michel Philippe Lerebours, Haiti and painters 1804-1980 , Volume I, Imprimeur II, Port-au-Prince, 1989, p. 269.
page38
38
[35]
a.2. Art Shock

Through a thirsty clientele fantastic and cabalistic,
Artists while keeping Their intrinsic qualities Produce
Desperate art highlighting The Most shocking aspects and
MOST painful life of Haitian and Haitian man
44. Beautiful-
shot painters like Andr Normil and Gourgue-have made an attempt to

to approach closer to the Haitian reality, painting art
shock with content with emotional truth. They responds to the name
the realism is popular notion in qui violence affects
aesthetic vigorously hitting our sensitivity. That's clock
brutal, powerful, bold is done on the watch. infernal paraphernalia This
nal is found in Gourgue painting a series of paintings like
Crucixion (g.7) and Woman drum (g.8) revealing to the public
a terrible breakthrough.
woman drum
Oil on canvas
22 x 26
Collection Arcadja (Fig. 8)
44 Michel Philippe Lerebours, Op cit , p. 305
page39
39
Crucixion
Acrylic on canvas
18 x 20
[36]
a.3 The mastery of tragedy

According To the French artist of 18
e Eugene Delacroix century, the subject
this is the Saami artist, thesis are emotions, impressions of the

kind. In _him_ to look out and around _him_
45. So,
Gourgue broke with the charm of local painters in --other us

childbirth original art based on clean aesthetic values
the Haitian people and Haitian typical realism. Through
45 Unknown, "the kind of art," in

2003 accessed 16 September 2011.
www.evene.fr , Posted on February 16
page40
40
His phrase providing cries of pain, anguish and distress, it apThe Therefore Would like an irritant, revolting.
The art of Gourgue is coherent, linked to the Haitian people and Its traditions
tions have to icts problems. From there come His originality and
specicity. Three aspects while shaping His art.

First, the religious appearance is paramount in _him_. he
puts us in the presence of voodoo ceremonies, objects of this cult,
Their symbolism. He illustrated the popular beliefs lled
mysticism. He Had the Courage to fully explore the syncretism is
Where voodoo is built.
Then the social aspect HAS _him_ in a different magnitude. He is interested in
the Haitian countryside. He Knew, Unlike painters indignisyour, paint a peasantry Plagued by poverty by presenting us
miserable and dilapidated cottages. Gourgue has built lanbrutal age of the countryside with dusty and rocky soils,
desert and bare hills. This is the peasant distress.
[37]
Finally, the study of owers and fruits for her organization
new. He shows us the richness and variety of our products local. By cons, he has new brought` In His still lifes, with
the introduction of voodoo objects
46. Sometimes skulls take place
In His works. As Evidenced By His rst painting the "Table

Magic "that is not only a picture is no goal aussi
departure date as well as the paintings, Les Demoiselles
Avignon by Picasso, the Mystic Lamb of Van Eyck. Reviews some of
thesis still lifes are a magical character displaying a lot
terror.
Was gourgue ble to offer us strong works by Bringing us
terrible subjects of twisting bread masks, characters
nightmarish, dried trees, desert hills.
Gourgue changed icts way of painting Repeatedly. He inchanging technology, different styles to bring out more
47
In His terror works.

page41
41
Art is Creation, and this establishment freedom Arise, fair presentation

rity and-even the artist's personality. It has enriched His Certainly vocabular through aesthetic and technical knowledge
Western art, purpose Gourgue HAS Retained the criteria and Haitianness
HAS lost none of ict tragic originality. It has spawned work
Shocking, using superimposed images, and transparencies.
The Reposoir (Figure 3) is living proof. This work, while
like the magic table , marks a turning point in the work of
Gourgue and aussi in the Evolution of voodoo painting.
Conducted in 1982, the work has Proved dbordan- imagination
you and an original feat highlighting a mythological subject
cal. It illustrates the voodoo cult. This Entire canvas is constant
Opposing destroyed from triangles and a vertical line cutting the base
of [38] two triangles to the center of the table. In the foreground,
the head one can notice a sheep and That of a bull transpersonal
One Whose rolling drum lower share is eroded.
Aussi One notices the roots of the tree side by side with
drum. Inside the drum are a bowl lled with blood
and a burning candle. In the background, he places a mask, a Goblin
let, a bottle, a tree trunk qui est hanging a bag,
an inlaid gourd vv a whole. In the background, a
Reviews another tree devoid of life, a naked man sitting on a chair with a
exible mobility Where is His Head On His Knees. It's like a
movement of inclination.
Desert hills and stones are on the ground That Workduce a deep drought. The work est Organized by
curves. Evidenced by the drum movement, the posture of
the naked, the head of animals, gourd, bottle.
In order to create strong harmonies and we dive
in the sacred Gourgue uses strong colors. masterful painter, he
Had the audacity to put the eyes of Observers Where live
the spirits. The Reposoir evokes a painful position with the mariage of two animal heads with Such objects: a bottle,
candle, a cup, a human and a thirsty environment
life.
page42
42
Painter socially Band politically active

Haitian painting is linked to the Haitian people. The themes
show the variety and richness of Gourgue us back son WorkConditions have to icts problems. From here comes His [39] specic followVant qui he thing to sing, at Some Point In His career,
National landscapes. Being the rst to sing landscapes,
indigenists failed to Penetrate the intimacy of the peasant as so
Gourgue well. The lath thing to paint a different landscape
--other from painters. He painted a rustic landscape and Especially
realistic ble to bring out the peasant distress in a nation
ture Sometimes enchanting, sometimes ravaged by drought and
erosion
48.
By frequenting artists FDAP It has integrated social glad

In His landscape works. Can we talk pledge to society
When He the hinterland thing to paint the misery of the countryside
Haitian? The concluding Is That he preferred to reject the design idyllic
the peasantry reprsente par indigenists. In addition, we must carry
peel the Indigenist painters HAD never presented voodoo
In Their works. By cons, Gourgue presented the intimacy of the peasant
showing what is happening in rural areas, Describing capita
tudes and beliefs of the peasant. Could we not talk about love
for the peasantry?
Gourgue Would not bend to-any rules made goal

thing to Rely On His inspiration and his production. The years 19641965 Was signicant year period for _him_, His art forest devenu
49. The indigenists had also engaged in
ment symbolist
Haitian peasantry, aim Their commitment Was different. PoursuiEstablished Vant year tradition, Gourgue, at Some point
made the peasantry ict hand inspiration in us
48 Cit, p.280.
page43
43
HAVING engaged works. Work Involved, since it revolvers

you Against the status accorded to the People of rural life. He shouts drama
a tragic landscape. He Fought Against the contradictions and the precariousness
ty of peasant life. He Has Approached more gravement the [40]
Haitian reality by painting landscapes with touching truth.
Everything In His work Reveals an evocation, a desperate kind
thirsty for reforestation, green and fertility.
[41]
page44
44
[42]

CONCLUSION

It is not easy to make an analysis encompassing all aspects of
the work of Jacques Enguerrand Gourgue. DESPITE His balance and
His unit, His work, does one noticed, this great diversication
style tee. Gourgue let himself be Dominated by different movements
artistic. cruel work! tragic work! Before this work,
we can not help ask the questions aim
qui road Followed His Mind for him so brilliantly to Met
thesis be updating tables?

Each painting is an Expression of a state of mind in qui
the artist Reveals His vision and hauntings That sccm to exclude the bread
ceur and delicacy. Painting Gourgue opposed Any conDecorative cern. The sensual is Rarely seen there. Gourgue not
hesitated to Incorporate His visionary experiences and all deformation
That tions allow it a conscious and systematic use of derglements psychological. What Brings the surreal in thesis
words: grace alternates with horror; elegance with monsters
trueux. His works feature a great freedom, absolute freedom
read qui est Expressed in odd shapes, chaotic, ugly.
The works of Gourgue familiarize us with the exceptional,
with extravagance, with the strangeness gold-even horror. Hence Emerges
Powerful strength of Each de son creations. Gourgue Has No ridale is how it upsets, it intoxicates, it hurts. His curiosity
page45
45
His fascination and irritation as generosity and impress

Observers de son works. Attached son passion, continuous Gourgue
nue to work as a slave, a slave son eager genius,
qui made _him_ Especially master de son forces Faculties prodi-
gieusement [43] active. It is ignored tiredness and Constantly

That quest for joy Seems always ee. In the lack of this joy,
That he knows anxiety, fear and fury.
It Appears from this study que la concern Was to suit les Gourgue
the universality of tragedy in His works. This is what led son
big success. In this reading, we saw the tragic Dominates icts
art and takes us away from Any sense of beauty. The pleasure of tragedy
is a sense of admiration specic personality through the qui
Artist deploys ity. It is a pleasure in all fullness icts.
Gourgue was just a brilliant artist with All That
includes sacrice, servitude and grandeur. He, During His
life as an artist, felt agitated _him_ storms, tides, winds
Caribbean Often stronger than His physical and spiritual springs.
DESPITE thesis opposing forces He Has a feel thanks to a perpetual
tual transcendence to approach the artistic shore de son country
heroes paint.
page46
46
[44]

BIBLIOGRAPHY
page47
47
[45]
Works:
ALEXIS Gerald, The Origins of Haitian Modern Art (unpublished).

ALEXIS J. Stephen, Du wonderful Haitian realism , symposia
That at the Sorbonne - Booklets
VIII-IX-X, 1956, 1
erCongress of Black Writers and Artists.
BERTHELEMY Jean Treaty of Aesthetics , Paris, 6th editions

school, 1964.
BONA Dominica Port ebony manuscript , Paris, editions
Grasset and Fasquelle 1998.
DEPESTRE Rene Hello and goodbye to blackness , Paris, edition
Robert Laffont, 1980.
HABERNAS Jrgen, The Philosophical Discourse of Modernity ,
Paris, Gallimard edition, 1980.
Fernand Hazan, Dictionary of modern painting , Paris,
AME 1954.
Charles LALO, Notions of Aesthetics , Paris, PUF, 1952.
LEREBOURS Philippe, Haiti and painters 1804-1980
Suffering and hope of a people , Volume I and II, Port-au-Prince, Im-
II premiere in 1989.
MARCELIN Philippe Thoby, Panorama of Haitian art , printshops
ry of the state, 1959.
METRAUX Alfred, Haitian voodoo , Paris, Gallimard edition,
1956.
NADAL M. Jose Elisabeth BELL, BLONCOURT Gerald, The
Haitian painting , Paris, Nathan Edition 1987.
Selden Rodman, Renaissance in Haiti , New York, 1948.
page48
48
[46]
Etienne Souriau, aesthetic vocabulary , editing Quadriga
2004.
reviews:
ALEXIS Gerald in Conjunction No. 201 The impact of the preliminary

Cuban guard on the rst modern painters .
LARAQUE Paul in Conjunction No. 193, Andr Breton in Haiti .
websites:
Unknown, Reveals All of the culture,
www.evene.fr , Published on 24 Octo-
ber 2002, accessed October 16, 2011.

Unknown, still life, fr.wikipedia.org, published January 11
2003 accessed 19 September 2011.
Henri Rousseau, The Arts,
2009, accessed 16 October 2011.
www.evene.fr Published September 24
page49
49
[47]
NOTES
Woman with melon

Oil on masonite
29 X 14
Philadelphia collection
page50
50
[48]
Voodoo
Oil on masonite
24x16
Red Carpet Gallery Collection
page51
51
[49]
Adam and Eve

Oil on canvas
24 x 20
private collection
page52
52
[50]
thicket
Oil on canvas
24x 36
private collection
END

Jacques Enguerrand GOURGE - The Tragic Pleasure .

Enviado por

Dados do documento

Descrição original:

Título original

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Jacques Enguerrand GOURGE - The Tragic Pleasure .

Enviado por

Direitos autorais:

Formatos disponíveis

Page1

Jacques Enguerrand GOURGE:

Dissertation for obtaining the degree in History of Art and Archaeology

Institute of African Studies and Research of Haiti

A document produced in digital version by Jean-Marie Tremblay, volunteer,

Any reproduction and redistribution of our les is prohibited

tors. This is our mission.

This electronic edition was conducted by Jean-Marie Tremblay, volunteer,

This book is published in partnership with the Science Association

Jean-Marie Tremblay, CQ,

Jacques Enguerrand GOURGE:

Dissertation for obtaining the degree in Art History and Ar

Jacques Enguerrand Gourgue [3]

a.1 From primitivism to modernity [15]

Jacques Enguerrand GOURGE:

The Tragic Pleasure ...

Jacques Enguerrand GOURGE:

In memory of my aunt dedicated ANNA LOUIS BARON.

Back to Table of Contents

Jacques Enguerrand GOURGE:

Back to Table of Contents

Jacques Enguerrand GOURGE:

Back to Table of Contents

some artists separate from Art Center in 1950 to create the

Etienne Souriau, Vocabulary of Aesthetics, Paris, Quadriga, PUF, in April 2009,

Jacques Enguerrand GOURGE:

Jacques Enguerrand Gourgue:

Back to Table of Contents

2 is populated with gods,

Gourgue spent a troubled childhood in the church quarter

Unknown, Parishes Catholics Hait i, in www.haiti-reference.com , put in

Artistic where it provides courses in painting, decorating and

Ten years later, luckily Gourgue be forced to leave

11 Michel Philippe Lerebours, Op cit, p. 95.

Jacques Enguerrand GOURGE:

The Work of shocking

Jacques Enguerrand GOURGUE

Back to Table of Contents

Main current Athrough the work of Gourgue

a.1. Primitivism to modernity

Back to Table of Contents

surrealist. He is the initiator of the surrealist art movement. It is

14, Obtained Gourgue

a.2. Realism cruelty

Back to Table of Contents

14 Unknown, The Arts, in www. Evene.fr, posted September 24, 2009,

a.3. atrocious Surrealism

Back to Table of Contents

masterpieces. Andr Breton was to dene: Surrealism as

This is a common structured on psychoanalysis by making use

B- The topics treated Gourgue

Back to Table of Contents

19 Ren Depestre, Op cit, p.234.

b-1. Gourgue, dry landscape painter

Back to Table of Contents

men and rural women. However, gender

It is easy to give in to the creative imagination of Gourgue face

away from the natural and ordinary facts and ideas

23. The ele-

problematic of slavery, enlarged and knotted in a complex system

Michel Philippe Lerebours, Op cit, p. 90.

all eyes to her paintings. It seeks to remove urban life