(no entry for this year)

(no entry for this year)

Painting by Paul Gauguin: Spirit of the Dead Watching (Manao tupapau) is an oil on burlap canvas depicting a naked Tahitian girl lying on her stomach. An old woman is seated behind her. Gauguin said the title may refer to either the girl imagining the ghost, or the ghost imagining her. The subject of the painting is Gauguin's young native wife Teha'amana (called Tehura in his letters), who one night, according to Gauguin, was lying in fear when he arrived home late: " ... motionless, naked, belly down on the bed: she stared up at me, her eyes wide with fear, '... Perhaps she took me, with my anguished face, for one of those legendary demons or specters, the Tupapaus that filled the sleepless nights of her people."

Painting by Edvard Munch: The Scream (Norwegian: Skrik). The same title — The Scream — is the popular name given to each of four versions of a composition, created as both paintings and pastels, by Norwegian Expressionist artist between 1893 and 1910. The German title Munch gave these works is Der Schrei der Natur (The Scream of Nature). The works show a figure with an agonized expression against a landscape with a tumultuous orange sky. Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time." Edvard Munch created the four versions in various media. The National Gallery in Oslo, Norway, holds one of two painted versions (1893, shown here). The Munch Museum holds the other painted version and a pastel version from 1893. The fourth version (pastel, 1895) was sold for $119,922,600 at Sotheby's Impressionist and Modern Art auction on 2 May 2012 to financier Leon Black, the fourth highest nominal price paid for a painting at auction. The painting was on display in the Museum of Modern Art in New York from October 2012 to April 2013.

Painting by Franz Stuck: The Sin (German: Die Sünde) depicts the nude Eve with a big serpent wrapped around her body. In the upper right corner is a bright field, while the rest of the surroundings are dark. The motif was conceived as a development of Stuck's 1889 painting Sensuality (Die Sinnlichkeit). The Sin was first exhibited in 1893, at the inaugural exhibition of the Munich Secession, where it caused a sensation. It was bought by the Neue Pinakothek in Munich and became a critical and commercial breakthrough for Stuck. It has since become an emblematic painting for the symbolist movement. Stuck made twelve known versions of the painting. Some of these can be viewed at the Neue Pinakothek in Munich, the National Gallery in Berlin, the Galleria di arte Moderna in Palermo, the Frye Art Museum in Seattle, and at the Villa Stuck in Munich, where it is enshrined in the artist's Künstleraltar.

Painting by Claude Monet: The Rouen Cathedral, Full Sunlight was one of a series, with each painting in the series intended to capture the facade of the Rouen Cathedral at different times of the day and year, reflecting changes in its appearance under different lighting conditions. The Rouen Cathedral paintings, more than thirty in all, were made in 1892 and 1893, then reworked in Monet's studio in 1894. Monet rented spaces across the street from the cathedral, where he set up temporary studios for the purpose. In 1895, he selected what he considered to be the twenty best paintings from the series for display at his Paris dealer's gallery, and of these he sold eight before the exhibition was over. Pissarro and Cézanne visited the exhibition and praised the series highly. When Monet painted the Rouen Cathedral series, he had long since been impressed with the way light imparts to a subject a distinctly different character at different times of the day and the year, and as atmospheric conditions change. For Monet, the effects of light on a subject became as important as the subject itself.

(no entry for this year)

The first Sunday newspaper comics appear.

Painting by : The Boulevard Montmartre on a Winter Morning. In the late 1890s, Pissarro painted a series of works depicting the boulevards, as seen from his windows, at various times of year.

Painting by Paul Gauguin: Where Do We Come From? What Are We? Where Are We Going?. Gauguin inscribed the original French title in the upper left corner: D'où Venons Nous / Que Sommes Nous / Où Allons Nous. The inscription the artist wrote on his canvas has no question mark, no dash, and all words are capitalized. In the upper right corner he signed and dated the painting: P. Gauguin / 1897. The painting was created in Tahiti, and is in the Museum of Fine Arts in Boston, Massachusetts, USA. Gauguin had been a student at the Petit Séminaire de La Chapelle-Saint-Mesmin, just outside Orléans, from the age of eleven to the age of sixteen. His subjects there included a class in Catholic liturgy; the teacher for this class was the Bishop of Orléans, Félix-Antoine-Philibert Dupanloup. Dupanloup had devised his own catechism to be lodged in the minds of the young schoolboys, and to lead them towards proper spiritual reflections on the nature of life. The three fundamental questions in this catechism were: "Where does humanity come from?" "Where is it going to?", "How does humanity proceed?". Although in later life Gauguin was vociferously anticlerical, these questions from Dupanloup's catechism obviously had lodged in his mind, and "where?" became the key question that Gauguin asked in his art.

(no entry for this year)

(no entry for this year)