LONDON — “Is it time to stop looking at Gauguin altogether?”
That’s the startling question visitors hear on the audio guide as they walk through the “Gauguin Portraits” exhibition at the National Gallery in London. The show, which runs through Jan. 26, focuses on Paul Gauguin’s depictions of himself, his friends and fellow artists, and of the children he fathered and the young girls he lived with in Tahiti.
倫敦國家美術館舉辦的「高更肖像」(Gauguin Portraits)展覽上，參觀者在語音導覽裡聽到了這樣一個令人驚詫的問題。該展覽將持續到1月26日，主要展出保羅·高更(Paul Gauguin)的肖像畫，描繪的對象包括他本人、他的朋友和其他藝術家、他的孩子們，以及在大溪地和他一起生活的女孩。
The standout portrait in the exhibition is “Tehamana Has Many Parents” (1893). It pictures Gauguin’s teenage lover, holding a fan.
展覽中格外引人注目的是作於1893年的《塔哈馬納的祖輩》(Tehamana Has Many Parents)。畫中描繪了高更的少女情人手持扇子的形象。
The artist “repeatedly entered into sexual relations with young girls, ‘marrying’ two of them and fathering children,” reads the wall text. “Gauguin undoubtedly exploited his position as a privileged Westerner to make the most of the sexual freedoms available to him.”
Born in Paris, the son of a radical journalist, Gauguin spent his early years in Peru before returning to France. He took up painting in his 20s, while working as a stockbroker, a profession he would soon give up — along with his wife and children — to make art full time. He set sail for Tahiti in 1891, searching for the exotic surroundings he had known as a boy in Peru. Gauguin spent most of the 12 remaining years of his life in Tahiti and on the French Polynesian island of Hiva Oa, cohabiting with adolescent girls, fathering more children, and producing his best-known paintings.
In the international museum world, Gauguin is a box-office hit. There have been a half-dozen exhibitions of his work in the last few years alone, including important shows in Paris, Chicago and San Francisco. Yet in an age of heightened public sensitivity to issues of gender, race and colonialism, museums are having to reassess his legacy.
A couple of decades ago, an exhibition on the same theme “would have been a great deal more about formal innovation,” said Christopher Riopelle, a co-curator of the National Gallery show. Now, everything must be viewed “in a much more nuanced context,” he added.
“I don’t think, any longer, that it’s enough to say, ‘Oh well, that’s the way they did it back then,’ ” he said.
Mr. Riopelle described Gauguin as “a very complicated person, a very driven person, a very callous person,” and said he was “disappointed” that his overwhelming urge to make art “led him to hurt or use so many people badly.”
The show was co-produced with the National Gallery of Canada in Ottawa and opened in Ottawa in late May. A few days before the opening, the museum’s newly appointed director, Sasha Suda, and the exhibition’s curators decided to edit some of the wall texts after touring the show. Nine labels were changed to avoid culturally insensitive language, according to the museum’s press office.
In Ottawa, the title “Head of a Savage, Mask” was shown with an extended label explaining that the words ‘savage’ and ‘barbarian,’ “considered offensive today, reflect attitudes common to Gauguin’s time and place.” Elsewhere, his “relationship with a young Tahitian woman” was changed to “his relationship with a 13- or 14-year-old Tahitian girl.”
在渥太華，《野蠻人頭像（面具）》(Head of a Savage, Mask)附有一個詳盡的標籤，解釋「savage」（野人）和「barbarian」（蠻人）這樣的詞語「在今天被認為具有侵犯性，但反映了高更所處時代與地域普遍存在的態度」。還有一些地方把他「與一名大溪地年輕女性的關係」改為「他與一名13或14歲的大溪地女孩的關係」。
Ms. Suda said that out of 2,313 feedback cards submitted by visitors at the Canadian exhibition, about 50 were complaints about Gauguin and about the museum programming.
The show should “have addressed these issues in a more open and transparent way that connected with contemporary audiences,” Ms. Suda said in an interview. Addressing “blind spots” in the work of historical artists “could make those artists more relevant,” she added.
To other museum professionals, re-examining the lives of past artists from a 21st-century perspective is risky, because it could lead to the boycott of great art.
“The person, I can totally abhor and loathe, but the work is the work,” said Vicente Todolí, who was Tate Modern’s director when it staged a major Gauguin exhibition in 2010, and is now the artistic director of the Pirelli HangarBicocca art foundation in Milan.
位於米蘭的倍耐力比可卡機庫(Pirelli HangarBicocca)藝術基金會總監維森特·托多利(Vicente Todolí)說：「對於這個人，我可以完全憎惡和討厭，但作品就是作品。」托多利曾任泰特現代藝術館館長，任內該館於2010年舉辦了高更的大型作品展。
“Once an artist creates something, it doesn’t belong to the artist anymore: It belongs to the world,” he said. Otherwise, he cautioned, we would stop reading the anti-Semitic author Louis-Ferdinand Céline, or shun Cervantes and Shakespeare if we found something unsavory about them.
Yet Ashley Remer, a New Zealand-based American curator who in 2009 founded girlmuseum.org, an online museum focused on the representation of young girls in history and culture, insisted that in Gauguin’s case the man’s actions were so egregious that they overshadowed the work.
“He was an arrogant, overrated, patronizing pedophile, to be very blunt,” she said. If his paintings were photographs, they would be “way more scandalous,” and “we wouldn’t have been accepting of the images,” she added.
Ms. Remer questioned the constant exhibitions of Gauguin and the Austrian artist Egon Schiele, who also depicted nude underage models, and the ways those shows were put together. “I’m not saying take down the works: I’m saying lay it all bare about the whole person,” she said.
Gauguin remains a tourist draw in Polynesia and the South Pacific. There is even a luxury cruise line that tours the region that is named after him. But to many locals, the painter’s clichéd representations of lush, exotic islands full of dusky maidens with no voice or identity are tiresome.
“Gauguin, you piss me off,” begins “Two Nudes On a Tahitian Beach, 1894,” a poem by the New Zealand poet and academic Selina Tusitala Marsh.
「高更，你把我惹火了，」這是紐西蘭詩人和學者賽琳娜·杜西塔拉·馬什(Selina Tusitala Marsh)的詩作《1894年，大溪地海灘上的兩個裸體》(Two Nudes On a Tahitian Beach, 1894)的開頭。
The anonymity of his Tahitian portraits is another cause of frustration. In the 2009 photographic series “Dee and Dallas Do Gauguin,” the New Zealand-born Samoan artist Tyla Vaeau has cut out the faces in Gauguin reproductions and inserted photos of her own sister and friend.
他的大溪地肖像的匿名性是另一個引發不滿的地方。在2009年的攝影系列「迪和達拉斯仿高更」(Dee and Dallas Do Gauguin)中，紐西蘭出生的薩摩亞族藝術家泰拉·瓦伊奧(Tyla Vaeau)剪下了高更作品複製品上的面孔，換成了她姐妹和朋友的照片。
Gauguin’s art is a problem “if it continues to be used to frame the Pacific in this timeless, semi-damaged past, when actually there’s so much going on,” said Caroline Vercoe, a senior lecturer in art history at the University of Auckland who is part Samoan and is participating in the National Gallery in London’s talk and film program. “It’s such a lively and dynamic culture within the indigenous context as well.”
Even to his admirers, Gauguin invites questioning. The African-American painter Kehinde Wiley — who described Gauguin as one of his idols in a 2017 interview, but also as “creepy” — recently painted a series in Tahiti inspired by Gauguin that depicts the mahu, a nonbinary community considered a “third gender” in Polynesia.
“I love his paintings, but I find him a little bit strange,” Mr. Wiley says in a National Gallery film. “The ways we see black and brown bodies from the Pacific are shot through his sense of desire. But how do you change the narrative? How do you change the way of looking?”
To ensure that Gauguin’s artistic legacy is not besmirched by his “marriages” to underage girls, these relationships should be covered in exhibitions, said Line Clausen Pedersen, a Danish curator who has put on several Gauguin shows. With each exhibition, “another layer is peeled off the protection of history that he has somehow enjoyed,” she said. “Maybe the time is ripe to take off more layers than before.”
製作過多場高更展的丹麥策展人裡恩·克勞森·佩德森(Line Clausen Pedersen)說，為了確保高更的藝術遺產不會被他與未成年女孩的「婚姻」關係所污染，展覽中應包含這些關係。每舉辦一次展覽，「他曾經享受過的歷史保護就被揭掉一層，」她說。「也許現在可以揭掉更多的保護層了。」
“What’s left to say about Gauguin,” she added, “is for us to bring out all the dirty stuff.”