{"id":82413,"date":"2021-09-02T17:51:05","date_gmt":"2021-09-02T15:51:05","guid":{"rendered":"https:\/\/svetslik.si\/uncategorized\/the-green-christ\/"},"modified":"2026-03-22T19:45:36","modified_gmt":"2026-03-22T18:45:36","slug":"the-green-christ","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/paul-gauguin\/the-green-christ\/","title":{"rendered":"Paul Gauguin \u2013 The Green Christ"},"content":{"rendered":"
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Paul Gauguin \u2013 The Green Christ \u2013 hand-painted oil painting reproduction<\/h2>\n

A Breton woman kneels at the foot of a calvary, a stone cross bearing a greenish Christ, and behind her the grey Atlantic coast opens out. The work was painted in the autumn of 1889<\/strong> in Brittany, oil on canvas, 73 \u00d7 92 cm<\/strong>, and is held by the Royal Museums of Fine Arts of Belgium<\/strong> in Brussels. We paint this calvary anew as a hand-painted oil painting reproduction<\/strong> in oil on canvas \u2013 painted, never printed.<\/p>\n

A cross that actually stands somewhere else<\/h3>\n

The scene is set by the sea at Le Pouldu<\/strong> \u2013 except that the calvary does not stand there. The model is the stone cross beside the church at Nizon<\/strong>, near Pont-Aven, and the figure of Christ is closest to the one on the calvary at Briec. Gauguin took a monument from inland Brittany and moved it to the coast. This is not an observer\u2019s mistake but assembly: the scene is built from real parts that never stood together in the landscape.<\/p>\n

Why the Christ is green<\/h3>\n

The colour is not a symbol but observation carried to its conclusion. The stone of Breton calvaries is covered in lichen and moss, and Gauguin transfers that greenish patina onto the body instead of painting it as shadow on stone. The cross is therefore not a church image but a piece of landscape that has always stood outside in the rain. The areas are held by a dark contour and laid down without modelling \u2013 the method then called cloisonnism<\/em>, after the metal strips in enamel work.<\/p>\n

A pair from the same autumn<\/h3>\n

That same autumn Gauguin painted a second calvary, The Yellow Christ<\/a>, and the two are now counted among the key works of Symbolism in painting. The green one is cool and turned towards the sea, the yellow one warm and set in a harvested field; together they show that colour, for him, is not the decoration of a scene but its weather. The Yellow Christ appeared once more later \u2013 painted on the wall behind the artist in Self-Portrait with the Yellow Christ<\/a>.<\/p>\n

A hand-painted reproduction for your home<\/h3>\n

The photographs above show this very subject, painted in our workshop. We paint it in eight sizes, among them 73 \u00d7 92 cm<\/strong> \u2013 exactly the measurement of the original \u2013 while for a larger wall 100 \u00d7 130 cm is a frequent choice. The quiet, cool range of colour works well in a bedroom, on a staircase or in a room meant for withdrawal. If Breton piety as Gauguin saw it interests you, see also Young Christian Girl<\/a>.<\/p>\n