All the lushness of Gauguin's
grandest landscapes start to look rather safe against the harshness of the woodcuts and monotypes, and some of the late works can be positively embarrassing: compared to the sinister Oviri series, a painting of a bare - breasted girl with a fan from 1902 looks like the middling efforts of a Sunday dabbler.
As an inspirational
starting point, I have been thinking about the works of 19th Century
landscape painters like Albert Bierstadt (see below) or Frederic Edwin Church, which depict the U.S.
landscape as
grand, transcendent, and even sublime.