But that is not the Tahiti Gauguin found.

但高更看到的塔希提岛却绝非如此。

You're Vincent, Theo's brother? I'm Paul Gauguin.

你是文森特，提奥的哥哥？我是保罗·高更。

Spencer meanwhile clearly drew on Gauguin to produce the powerfully symbolic “Apple Gatherers” (1912-13) .

与此同时，Spencer明显地吸取高更的创作手法，创作出强有力的、象征性的《苹果采集者》（Apple Gatherers）（1912-13）。

Gauguin worked from the imagination and memory, van Gogh surrendered himself to nature.

高更将灵感寄托于想象和回忆；而梵高将思想臣服于大自然。

Our tour also includes a chance to walk in the footsteps of Van Gogh and Gauguin.

我们还有机会追寻梵高和高更的足迹。

Once he got away from the capital, Papeete, Gauguin discovered that some parts of the old legend still survived.

当他离开首都帕皮提后 高更发现 这个古老传奇的某些部分得以幸存。

The restless Gauguin had already sought escape in the quiet backwaters of France and Martinique.

在法国和马提尼克平静的死水里 不安歇的高更都曾寻求逃离。

It's a Gauguin invention, though based on his fascination with the myths of the lost Tahitian past.

这是高更的创造 尽管是建立在他对于 遗失的塔希提历史的迷恋之上。

But, unlike Gauguin, Picasso was never interested in escaping from the modern world.

但是 与高更不同 毕加索对于如何从现代世界逃离并不感兴趣。

Gauguin's paintings of the Tahitians were, in one sense, an honest account of the condition in which he found them...

从某种意义上说 高更的塔希提人绘画是对他看到的当地人生存情况的真实写照。

His name was Paul Gauguin, a former city trader who had lost it all in the financial crash of 1882.

他的名字是保罗·高更 曾是一名在1882年经济危机中 倾家荡产的证券交易员。

Italian police found the Paul Gauguin still-life in a sicilian autoworker's kitchen. He says he bought it at an auction 40 years ago.

意大利警方在西西里岛的一名汽车工人的厨房里发现了保罗·高更的这幅静物画作。主人称，他于40年前在拍卖行拍下此幅画作。

When he persuaded Paul Gauguin to join him in Arles, van Gogh believed that they would inspire each other's work. It was a tragic delusion.

在阿勒斯时，梵高劝说保罗·高更加入他的创作队伍，他相信他们俩能激发彼此的灵感，有所裨益。但这却是个悲剧的幻想。

A people in the latter stages of contamination by the civilising mission, a people consumed by the European society Gauguin thought he had left behind.

他们处于被现代文明同化的后期阶段 高更以为自己逃离的那个欧洲社会 已将其吞噬殆尽。