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• W2076200717 abstract ">Summary Gauguin's pictorial attitude towards Tahitian women was ambivalent, as was his concept of a revived Paradise on Earth. He wished to accept a life of primitive bliss and yet remained very much a European intellectual. With him from Europe he brought all the time‐honoured ideas about the primeval Fall of Man having given rise to consciousness and brooding thought. It is all there in Gauguin's large «Credo« of 1897 in Boston, as well as in its immediate sequel, the wooden relief Que sommes‐nous? (Fig. 1). Three kinds of work may be singled out for their totally different attitudes. The first is illustrated by Parau api one version of which exists in Paris and another in Dresden (Fig. 2). The painter here reveals himself as a European observer, noting the racial characteristics of two Tahitian women and emphasizing them as heavily primitive beings. This has been achieved by highly plastic modelling together with sharp contrasts and shades. Gauguin uses similar means in the carved portrait of his first Tahitian wife, Tehaamana, where he has heightened the primitive effect by colouring the eyeballs green (Fig. 3). Gauguin's second attitude is most clearly brought out in Arearea (Fig. 4), in which the two girls have been turned into products of a highly sophisticated Oriental civilization. Gauguin here acted somewhat like Pierre Loti, telling a most poetical and charming lie whose unmistakable address is the public in Paris. He has moderated the plasticity, and the canvas works mainly through surfaces of intense colours. Whereas the two girls in Parau api hardly communicate at all, music brings them together in Arearea. In the background we encounter the worship of a huge cult image of a kind that perhaps never existed in Tahiti. Gauguin's third, more mature and realistic attitude becomes particularly evident in the works that followed after his attempted suicide on New Year's Eve, 1897. The main work here is Les seins aux fleurs rouges (fig. 5), in which Gauguin apostrophizes the Tahitian woman's power of thought and reflection by means of a soft modelling without shades and an almost classical contraposto. A mild, wistful mood pervades this representation of two women, which may bring to mind Poussin's Arcadian shepherdesses. This attitude evolved in Gauguin's art at a time when he no longer reckoned on returning to Europe." @default.
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• W2076200717 date "1984-01-01" @default.
• W2076200717 modified "2023-09-23" @default.
• W2076200717 title "Gauguin och den tahitiska kvinnan" @default.
• W2076200717 doi "https://doi.org/10.1080/00233608408604049" @default.
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