Paul Gauguin was conceived in Paris, France to columnist Clovis Gauguin and half-Peruvian Aline Maria Chazal, the little girl of proto-communist pioneer Flora Tristan. In 1851 the family left Paris for Peru, roused by the political atmosphere of the period. Clovis kicked the bucket on the journey, leaving three-year-old Paul, his mom, and his sister to fight for themselves. They lived for a long time in Lima, Peru with Paul's uncle and his family. The symbolism of Peru would later impact Paul in his art.
At seven years old, Paul and his family came back to France. They moved to Orléans, France to live with his granddad. He before long learned French and exceeded expectations in his investigations. At seventeen, Gauguin marked on as a pilot's aide in the trader marine to satisfy his necessary military help. After three years, he joined the naval force where he remained for a long time. In 1871, Gauguin came back to Paris where he verified work as a stockbroker. In 1873, he wedded a Danish lady, Mette Sophie Gad. Throughout the following ten years, they would have five kids. Gauguin had been keen on art since his adolescence. In his extra time, he started painting. He additionally visited exhibitions every now and again and obtained work by developing artists. Gauguin framed a fellowship with artist Camille Pissarro, who acquainted him with different artists. As he advanced in his art, Gauguin leased a studio and indicated paintings in Impressionist presentations held in 1881 and 1882. More than two summer excursions, he painted with Pissarro and at times Paul Cézanne.
By 1884 Gauguin had moved with his family to Copenhagen, where he sought after a business vocation as a stockbroker. Headed to paint full-time, he came back to Paris in 1885, leaving his family in Denmark. Without sufficient subsistence, his better half (Mette Sophie Gadd) and their five youngsters came back to her family. Gauguin outlasted two of his kids. Like his companion Vincent Van Gogh, with whom in 1888 he went through nine weeks painting in Arles, Paul Gauguin experienced episodes of sorrow and at one time endeavored suicide. Frustrated with Impressionism, he felt that customary European painting had gotten excessively imitative and needed emblematic profundity. On the other hand, the art of Africa and Asia appeared to him brimming with spiritualist imagery and life. There was a vogue in Europe at the ideal opportunity for the art of different societies, particularly that of Japan (Japonisme). He was welcome to participate in the 1889 show sorted out by Les XX.
Affected by society art and Japanese prints, Gauguin developed towards Cloisonnism, a style was given its name by the pundit Édouard Dujardin in light of Emile Bernard's cloisonne enameling strategy. Gauguin was keen to Bernard's art and of his challenge with the work of a style that fit Gauguin in his mission to express the pith of the items in his art. In The Yellow Christ (1889), frequently referred to as a quintessential Cloisonnist work, the picture was decreased to territories of unadulterated color isolated by overwhelming dark frameworks. In such works, Gauguin gave little consideration to the traditional point of view and strikingly wiped out unpretentious degrees of color, along these lines getting rid of the two most trademark standards of post-Renaissance painting. His painting later developed towards Synthetism in which neither structure nor color prevails yet everyone has an equivalent job.
In 1891, Gauguin, disappointed by the absence of acknowledgment at home and monetarily down and out, cruised to the tropics to get away from European human advancement and "everything that is artificial and customary." (Before this he had made a few endeavors to locate tropical heaven where he could 'live on fish and leafy foods' in his inexorably crude style, remembering short remains for Martinique and as a worker on the Panama Canal development, anyway he was rejected from his activity after just two weeks). Living in Mataiea Village in Tahiti, he painted "Fatata te Miti" ("By the Sea"), "Ia Orana Maria" (Ave Maria) and different delineations of Tahitian life. He moved to Punaauia in 1897, where he made the perfect work of art painting "Where Do We Come From" and afterward carried on with an amazing remainder in the Marquesas Islands, coming back to France just once, when he painted at Pont-Aven. His works of that period are loaded with semi strict imagery and an exoticized perspective on the occupants of Polynesia. In Polynesia he agreed with the local people groups, conflicting regularly with the provincial specialists and with the Catholic Church. During this period he additionally composed the book Avant et après (previously, then after the fact), a divided assortment of perceptions about existence in Polynesia, recollections from his life and remarks on writing and paintings. In 1903, because of an issue with the congregation and the administration, he was condemned to a quarter of a year in jail and charged a fine. Around then he was being upheld by the art vendor Ambroise Vollard. He passed on of syphilis before he could start the jail sentence. His body had been debilitated by liquor and scattered life. He was 54 years of age. Gauguin kicked the bucket in 1903 and is covered in Calvary Cemetery (Cimetière Calvaire), Atuona, Hiva 'Oa, Marquesas Islands, French Polynesia.