Podcast Summary: All Of It – "Full Bio: Paul Gauguin's Complicated Legacy in Tahiti"

Introduction

In this episode of All Of It, hosted by Alison Stewart, the conversation centers on Paul Gauguin's intricate legacy in Tahiti. Guest Sue Prudho, author of Wild A Life of Paul Gauguin, delves deep into the French artist's life, exploring his artistic journey, personal struggles, and activism within the colonial context of 19th-century Tahiti.

Background on the Episode & Book

Alison Stewart introduces the episode as part of the "Full Bio" series, where authors discuss their comprehensive biographies. Sue Prudho's book, Wild A Life of Paul Gauguin, is highlighted for its extensive research, utilizing historic and primary sources such as Gauguin’s 213-page final work and his son's memoir. Prudho integrates Gauguin's paintings and sculptures to narrate his life, providing a nuanced portrayal that goes beyond previous accounts.

Gauguin's Arrival in Tahiti

Gauguin first arrived in Tahiti in 1891 at the age of 43, seeking authenticity and an escape from his struggling life as a stockbroker-turned-artist. Initially planning to travel to Japan with fellow artist Emile Bernard, circumstances led Gauguin to Tahiti alone after Bernard backed out. Prudho explains:

"He was appointed the first official French artist to Polynesia and promised to buy his paintings. A promise they never kept" (Sue Prudho, [02:43]).

Gauguin's flamboyant appearance—long hair, purple suit, cowboy boots, and a Stetson hat—immediately set him apart from the local Polynesians, who had never seen such Western attire.

Colonial Context in Tahiti

Tahiti had been a French colony for about a decade when Gauguin arrived. The indigenous Tahitians, numbering only a few thousand, were subjected to brutal rule by approximately 400 French soldiers, administrators, and missionaries. Prudho details the oppressive measures taken by the colonizers:

"They smashed all the Polynesian religious temples and artifacts, forbade dancing and nudity, and forced people to wear restrictive clothing" (Sue Prudho, [07:45]).

Additionally, Chinese laborers were brought in to work on agricultural projects like sugar cane cultivation, though these efforts largely failed, leading many to leave for opportunities like the Panama Canal or become storekeepers, often facing resentment from the local population.

Gauguin's Art and Reception

As the official artist, Gauguin was commissioned to paint a portrait of Suzanne Bainbridge, a local woman. However, his unconventional style was poorly received locally—they deemed his work inferior and suspected him of being a spy rather than a genuine artist. Despite this initial rejection, Gauguin persisted in his artistic endeavors, moving to the countryside to immerse himself in Polynesian life. Prudho notes:

"He became known as the man who Makes Men because Polynesia didn't have a tradition of painting. They were captivated by his work, which depicted their daily lives authentically" (Sue Prudho, [08:29]).

Controversies and Challenges

Gauguin's artwork, particularly Teorania Maria Hail Mary (1891), sparked scandal in Paris for depicting the holy family with Polynesian features:

"When it was shown in Paris, it was uproarious and scandalous... It wasn't until 1951 that a papal encyclical made it permissible to represent such imagery" (Sue Prudho, [10:39]).

Despite praise from fellow artists like Degas, who dubbed him "the Magician," Gauguin's work struggled to gain widespread acceptance amidst the dominance of Impressionism.

Health Issues and Incident in Brittany

Gauguin's personal life was tumultuous, marked by his relationship with Anna the Javanese. Their summer holiday in Brittany ended violently when local fishermen attacked Gauguin for their unconventional presence:

"His ankle was splintered and his shattered shin bone stuck out through the skin. He always walked with a stick afterwards" (Sue Prudho, [17:53]).

This injury led to chronic health issues, including an open wound that never healed properly, fostering rumors of syphilis. The incident profoundly affected Gauguin's physical well-being and his resolve to never return to France.

Gauguin's Activism and Legacy

Beyond his artistic pursuits, Gauguin became an outspoken advocate for indigenous rights in French Polynesia. He actively opposed the corruption within the local government and the oppressive policies enforced by missionaries like Bishop Martin. Prudho recounts Gauguin's efforts to restore traditional Polynesian culture:

"He built a traditional communal house, the maison de Jouyre, and championed the local people's right to sing, dance, and live authentically" (Sue Prudho, [21:20]).

Gauguin's activism made him both a hero to the Polynesian community and an enemy to the French colonial authorities. His confrontations with Bishop Martin culminated in legal battles, further tarnishing his relationship with the French administration.

Authenticity and Cultural Representation

A significant discussion revolves around Gauguin's representation of Polynesian culture. While some criticize his work as cultural appropriation, Prudho argues that:

"He painted what he saw, showing Polynesian people in their authentic daily lives rather than romanticized or exoticized forms prevalent in earlier Western art" (Sue Prudho, [15:29]).

Gauguin's approach contrasted sharply with contemporaries who often projected European ideals onto their depictions of non-Western subjects.

Death and Aftermath

Paul Gauguin died in 1903 under disputed circumstances. While some theories suggest he committed suicide after facing legal troubles, Prudho presents an alternative view:

"The medically qualified men on the island believed that Gauguin's heart gave out, possibly triggered by the stress of his legal battles and his lingering physical injuries" (Sue Prudho, [27:24]).

After his death, Bishop Martin controversially took Gauguin's body for a Catholic burial, disregarding his Polynesian blood brother's wishes for a communal burial, thereby cementing his antagonistic relationship with the Church.

Conclusion

Gauguin's life in Tahiti was a complex interplay of artistic pursuit, personal turmoil, and socio-political activism. Sue Prudho's Wild A Life of Paul Gauguin provides a multifaceted view of the artist, highlighting his quest for authenticity and his efforts to champion indigenous rights amidst colonial oppression. This episode of All Of It offers listeners a deep dive into Gauguin's legacy, encouraging a nuanced understanding of his contributions and controversies within the broader tapestry of cultural history.

Notable Quotes

• Sue Prudho: "He was the first official French artist to Polynesia and promised to buy his paintings. A promise they never kept." ([02:43])

• Alison Stewart: "He had long hair on the voyage, and he disembarked wearing a purple suit, Buffalo Bill, cowboy boots and a Stetson hat. That was a look." ([03:58])

• Sue Prudho: "He became known as the man who Makes Men because Polynesia didn't have a tradition of painting." ([08:29])

• Sue Prudho: "He was fighting for social justice for the Polynesian people. That, I think, is an interpretation of authenticity." ([29:08])

Further Engagement

Listeners are encouraged to visit All Of It's Instagram @ollofynyc for more images of Gauguin and to explore the curated art list shared by Alison Stewart. Upcoming episodes promise insightful discussions, including a feature on James Baldwin by Nicholas Boggs.