Paul Gauguin’s legacy and his Tahitian painting

I recently visited the Courtauld Gallery at the Strand in London. 

I revisited Paul Gauguin’s famously mysterious and captivating “Nevermore”; and got to see “Te Rerioa” (The Dream) for the first time. 

The more I delve into art history, the more incredible and groundbreaking Gauguin is. I must admit that I have a soft-spot for him; and it is hard to know where one should stand concerning his behaviour in the Polynesian chapter of his life.

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With that said, Nikhil Krishnan has written in the Daily Telegraph recently (“Racist sexual predator? That isn’t Paul Gauguin’s full story”) reviewing Sue Prideaux’s biography of Paul Gaugin.

She argues that we ought to reassess his standing and tarnished reputation a bit more fairly — especially against the present zeitgeist of identity politics and cancel culture. I will write more about this particular point soon; but here’s a classic example from the wonderful BBC.

Nikhil Krishnan’s main points:

1. Gauguin did not bring syphilis to Polynesia. Analysis of his teeth evinced no traces of cadmium, mercury or arsenic which was used to treat the disease. The introduction of syphilis to Tahiti and the other Pacific Islands can be traced to the late 18th century with European explorers.
2. It is unfair to criticise Gauguin as being a mere “colonialist” who abused Tahitian women and disdained the locals. She argued and proves that Gauguin devoted himself to fighting for the rights of Tahitians under the stuffy French colonial rule he despised. Writing:

Certainly Gauguin’s presence in Tahiti wouldn’t have been possible had he not been French; nor was he exactly a saint. His “marriages” to girls in their early teens were regarded with alarm even in an age with different attitudes to the age of sexual consent. But he was no ideologue: he used every opportunity to decry, eloquently and publicly, French policies in Tahiti. He was a stout defender of the indigenous culture of Polynesia against the attempts of missionaries, both Protestant and Catholic, to destroy every last trace of it. Prideaux finds evidence of Gauguin’s attitudes in a long-lost manuscript of a long, illuminating essay, Avant et après (“part memoir, part last testament”) that has only recently been made available to researchers.

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Nevermore by Gauguin

Very captivating.

This is probably Gauguin’s 15-year-old “companion” while living in Tahiti which makes it a difficult subject. If I’m not mistaken, the culture at the time on Tahiti permitted this kind of “relationship”. I am entirely sure about this as a matter of historical fact, but it raises a question of whether it matters?

There is a feeling of unease and pathos. While not at rest, it seems her hand might be asking tears, or just her posture. She’s anxiously observing two figures in the background.

The face bears emotion through the shades of colour.

And a hint of a tear?

This is really beautiful and the Tahiti southern Pacific themes are obvious in the flowers embellishing the walls.

Why “Nevermore”?

The painting’s title associates the bird on the ledge with Edgar Allan Poe’s poem ‘The Raven’. In it, a poet, driven mad by the death of his lover, hears a raven endlessly repeating ‘nevermore’. This sense of loss may allude to Gauguin’s disillusionment at the destruction of Tahitian culture by French administrators and Church missionaries.

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Te Rerioa (The Dream) by Gauguin

Painted only weeks after Nevermore.

It's quite striking. Here are 2 silent, rather distant, women. They are watching over a sleeping baby. Ancient Egyptian style cat (lack of 3D effect).

I like the position and posture of the seated lady with her chin in her hands. 

The room is ornately decorated with elaborate wood reliefs.