Depicts the experiences of the French artist while living on a Polynesian island and discusses the culture of the natives of the island.

Gauguin's great diary from Tahiti almost never saw the light of day in its original form. The manuscript was sent by the artist from his island refuge to his friend Charles Morice in Paris, and published in 1901 with immediate success, under the two names of Paul Gauguin and Charles Morice. Morice, with Gauguin's permission, had 'edited' and enlarged it to make it more readable. How much of the charm and crispness of the manuscript had been lost in the process was anyone's guess. It was to be 40 years before Gauguin's original version came to light, and it is published here in a translation by the poet Jonathan Griffin, together with a detailed description by the art historian Jean Loize, who re-discovered the manuscript. Loize shows that Morice had in parts altered Gauguin's text beyond recognition - a startling discovery that entirely changed ideas about Gauguin's style and intentions. This genuine version of Noa-Noa is not only an important document, it is also a beautiful piece of writing: amusing, acid, wide-eyed, moving. Gauguin feared that, unedited, it would seem absurdly crude; and no doubt it would have, to most readers in his day. Today we can appreciate its sketch form, jerky directness, authentic freshness. This edition is illustrated with the watercolours, wood-engravings and drawings that Gauguin assembled for the book.

First Published in 1985. Routledge is an imprint of Taylor and Francis, an informa company.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

"Gaugin's original illustrations are attractively rendered in black-line cartoon style with splotches of light green, royal blue, aquamarine, pumpkin, and mustard. The book's appealing cover will engage children, and the poems might prompt them to create their own silly rhymes.-School Library Journal, starred review. The combination of handwritten, informal verse and Paul Rene Gauguin's avant garde illustrations has proven to be an irresistible and endlessly delightful combination for children and adults alike. Alive with sound, shape, and color, Hagerup's children's poems are still known by heart by every Norwegian child and collections of her poetry can be found on every child''s bookshelf.

Cette uvre (edition relie) fait partie de la serie TREDITION CLASSICS. La maison d'edition tredition, basee a Hambourg, a publie dans la serie TREDITION CLASSICS des ouvrages anciens de plus de deux millenaires. Ils etaient pour la plupart epuises ou uniquement disponible chez les bouquinistes. La serie est destinee a preserver la litterature et a promouvoir la culture. Avec sa serie TREDITION CLASSICS, tredition a comme but de mettre a disposition des milliers de classiques de la litterature mondiale dans differentes langues et de les diffuser dans le monde entier.

Following last season's Little Parsley, this new Hagerup volume was first published in Norway in 1971. At the time, it was a literary scandal for offering free verse to children, who were best suited, as the critics claimed, to the orderly rhymes of established poetic forms. Time and the inherently free and wild forms of youthful imagination have proven the critics completely wrong. Gorgeously illustrated by Paul Rene Gauguin, with his most antic line, as well as hand lettered, and playfully translated by Beck Crook, this collection of Hagerup poems is pure pleasure.

The life of Paul Gauguin (1848-1903) is one of the richest and most mythic in the history of Western art. Abandoning a career in banking, a family and his homeland, in the last decade of the nineteenth century he sailed from France to the South Seas to seek a life "in ecstasy, in peace and for art." During his years in Tahiti, Gauguin brought forth a wealth of astonishing paintings, culminating in this monumental meditation on what he called the "ever-present riddle" of human existence posed in the work's title. This compact introduction to Gauguin's masterpiece explores its relation to European models as well as to the artist's own companion pieces.