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The Post-Impressionist artist and writer Paul Gauguin led an extraordinary, troubled and restlessly itinerant life; he came late to painting and spent most of his last decade in the Pacific islands of Tahiti and the Marquesas, where he produced paintings loosely based on Polynesian tradition that heralded the emergence of primitivism and would exert a profound influence on modernist artists from Picasso and Matisse to Jackson Pollock.
But his art, despite its growing popularity following Gauguin's death in 1903, has provoked mixed responses: although some praise his knowledge and understanding of the Polynesian world, others are censorious, regarding elements of his work as expressions of racism, misogyny and colonial sexual exploitation, which he is seen both to have engaged in and validated through his art.
In this generously illustrated life of Gauguin, Nicholas Thomas retells the artist's story for a twenty-first-century audience, giving greater consideration to the Pacific contexts of his experience, and to Pacific perspectives on his art and his legacy.
A propos de l'auteur
Nicholas Thomas is a professor of anthropology at the University of London. A native of Sydney, Australia, he has traveled extensively in the course of his Pacific research and has curated several exhibitions on the history, art, and culture of Oceania.
Nicholas Thomas is Professor of Anthropology at Goldsmith's College, University of London.
Nicholas Thomas is a professor of anthropology at the University of London. A native of Sydney, Australia, he has traveled extensively in the course of his Pacific research and has curated several exhibitions on the history, art, and culture of Oceania. Nicholas Thomas is Professor of Anthropology at Goldsmith's College, University of London.
Résumé
Paul Gauguin is commonly regarded as one of the greatest modern artists. He is renowned for resplendent, mythic imagery from Oceania, for a life of restless travel and for his supposed immersion in Polynesian life. But he has long been regarded ambivalently, and in recent years both Gauguin's sexual behaviour, and his paintings, have been considered exploitative.
Gauguin and Polynesia offers a fresh view on the artist, not from the perspective of European art history, but from the contemporary vantage point of the region - Oceania - which he so famously moved to. Gauguin's art is revealed, for the first time, to be richer and more eclectic than has been recognised. The artist indeed did invent enigmatic and symbolic images, but he also depicted Polynesia's colonial modernity, acknowledging the life of the time and the dignity and power of some of the Islanders he encountered.
Gauguin and Polynesia neither celebrates nor condemns an extraordinary painter, who at times denounced and at other times affirmed the French empire that shaped his own life and the places he moved between. It is a revelation, of a formative artist of modern life, and of multicultural worlds in the making.
