This study is about the reception of Paul Gauguin’s art in Sweden in 1926 and 1970. I chose these dates because of the exhibitions displaying Gauguin’s art in Stockholm then, as it is the reception in Sweden I’m concerned with. The reception will be examined by studying relevant material as exhibition catalogues and newspaper articles. The study starts with a biography on Gauguin’s life to provide relevant background information. Then, a semiotic analysis of the painting Manao tupapau (1892) that Gauguin painted during his first stay on Tahiti (1891-1893). I feel that this paining really represents the imperial gaze Gauguin used to view and portrait the local population on Tahiti with. Throughout my study I use postcolonial theory in my analysis and I also draw parallels between Gauguin’s art and the racial photography of indigenous populations that Åsa Bharathi Larsson writes about. I feel that the production of photos have a lot in common with the production of Gauguin’s art and the result also shows that this racial photography helped establish the imperial gaze that the Swedish art critics later viewed Gauguin’s art with, especially in 1926. In 1970, the gaze had evolved and Gauguin’s lifestyle was criticized. Still, In spite of this critic, Gauguin’s art can still be exposed today (2017-18), without any mentioning of the circumstances under it was made, nor its exotifying traits. / Det här arbetet handlar om receptionen av Paul Gauguins konst i Sverige i samband med de utställningar av hans konst som tagit plats i Stockholm år 1926 och 1970. Arbetet består av analyser av det material som producerats i samband med utställningarna; utställningskataloger och tidningsartiklar. En semiotisk bildanalys av hans målning Manao tupapau har utförts då jag anser att det verket bäst sammanfattar de koloniala strukturer jag menar Gauguins konst bär på. Postkolonial teori används genomgående som teori i arbetet och jämförelser mellan den konst som Gauguin producerade på Tahiti i slutet av 1800- talet och de rasbiologiska fotograferingar som Åsa Bharathi Larsson skriver att Sverige utförde på Tahiti under sent 1800-tal har utförs. Resultatet visar också att dessa rasbiologiska studier bidragit till att lägga grunden för den koloniala blick med vilken konstkritiker i Sverige betraktade Gauguins konst främst år 1926. Studien visar att blicken med tiden utvecklades och att det år 1970 riktades kritik mot Gauguins livsstil. Trots detta kan idag (2017-18) Gauguins konst exponeras utan att omständigheterna kring hur den skapades eller de exotifierande egenskaper den bär på, nämns.

Issued also as thesis, Amsterdam. / "Notes in letters pertaining to Synthetist art theories": 78 pages inserted. "Bibliography": p. 243-257.

Thesis (doctoral) : Littérature : Universiteit van Amsterdam : 1983. / Proefschrift Letteren Amsterdam, Universität van Amsterdam : 1983. - Extr. de Simolius vol. 9-12, 1977-1982. -Résumé en néerlandais. Notes bibliogr.

Zugl. überarb. Fassung von: Frankfurt (Main), Univ., Diss., 2005 u.d.T.: Thomas, Kerstin: Stimmung als malerische Weltaneignung

Ph.D.--New York--Columbia University, 1988. / Bibliogr. p. 334-384.

Gustave Fayet était artiste, collectionneur, grand propriétaire viticole et restaurateur de l’abbaye de Fontfroide. Il a mené toutes ces activités de front et elles sont liées les unes aux autres. Cette étude présente l’itinéraire de Gustave Fayet entre Béziers où sont ses racines, Paris où il se réalisa en tant qu’artiste, en passant par l’abbaye de Fontfroide qui fut le catalyseur de sa réalisation artistique. Ses racines biterroises façonnèrent son goût, lui donnèrent les moyens financiers de faire ce qu’il aimait. Là il rencontra Maurice Fabre et George Daniel de Monfreid qui le menèrent l’un à Odilon Redon et l’autre à Paul Gauguin, ses deux grands maîtres. Plus tard à Paris et a Fontfroide l’artiste a pu éclore. La vie menée at Paris at partir de 1905, lui permit d’approfondir les rencontres avec les artistes de son temps, et aller au bout sa vie de mécène et de collectionneur. Mais s’il trouva tout ceci a Paris, l’homme aspirait an calme, il se réalisa en achetant en 1908 l’abbaye a Fontfroide, dont il fit un lieu de rencontres artistiques : Odilon Redon décora sa bibliothèque, Richard Burgsthal créa des vitraux. Au cœur de cela, et grâce à la relation privilégiée qu’il entretenait avec Odilon Redon il mena une réflexion sur l’artiste qu’il voulait être. Il reprit ses pinceaux pour se lancer dans des créations très personnelles. Entre 1920 et 1925 il devint un artiste classé et reconnu, en particulier dans le domaine des arts décoratifs, réalisant des tapis au point noué de style art déco. Son travail commencé à Fontfroide lui ouvrit les portes de l’art décoratif, le succès fut au rendez-vous, il décida donc de vivre de son art. / Gustave Fayet was an artist, a collector, a great vineyards owner and the restorer of the abbey of Fontfroide. He led all these activities at the same time and they were all linked to each other. This study presents Gustave Fayet's itinerary between Béziers where were his roots, Paris where he fulfilled himself as an artist, and the abbey of Fontfroide which was the catalyst of his artistic fulfillment. His roots in Béziers shaped his taste, gave him the financial means to do what he liked. There he met Maurice Fabre and George Daniel de Monfreid who drove him to Odilon Redon and Paul Gauguin, his two great masters. Later in Paris and in Fontfroide the artist could hatch. The life he led in Paris since 1905 allowed him to go further in meeting the artists of his time and to achieve his life as a patron of arts and as a collector. But even if he found all that in Paris, the man wanted peace and quiet, he fulfilled himself in buying the abbey of Fontfroide in 1908, which he turned into a place of artistic meetings: Odilon Redon decorated his library; Richard Burgsthal made stained-glass windows. In this atmosphere and thanks to his unique relationship with Odilon Redon he led a reflection on the artist he wanted to be. He took again his paintbrushes to start very personal creations. Between 1920 and 1925 he became a ranked and recognized artist, especially in the field of the decorative arts, making art déco unique carpets. His work which started in Fontfroide opened him the gate to decorative arts, and success finally came, so he decided to earn a living from his art.

En 1892, la toile Manao tupapau de Paul Gauguin présente, à l’arrière d’une vahiné dénudée, un petit personnage encapuchonné. L’artiste explique qu’il s’agit d’un tupapau, d’un revenant dans les traditions polynésiennes. Le motif en réalité est déjà apparu en France en 1888, sans référence à l’Océanie, et ne cessera de hanter l’œuvre jusqu’au décès de Gauguin en 1903. Cette figure thanatique, intrusive dans une œuvre qualifiée d’exotique et d’érotique, méritait réflexion, d’autant que la critique l’a souvent banalisée ou effacée. Ce personnage montre-t-il que l’artiste cède au fantastique fin-de-siècle ? S’agit-il d’alimenter l’exotisme, comme les Orientalistes, en faisant cohabiter cette entité ténébreuse avec la «belle des îles» ? Y a-t-il, de la part d’un homme exécrant l’Europe mercantiliste et racialiste, un intérêt sincère pour le surnaturel polynésien persécuté par les missions chrétiennes ? Notre travail a montré que l’excursion dans les îles du Pacifique pouvait virer à la descente aux Enfers. Face à la normalisation coloniale et chrétienne des mœurs et croyances polynésiennes, la peur de la damnation, la mortalité effrayante dû au mal vénérien, le démon à capuche est la mort qui gagne sur les plaisirs, la diabolisation de la liberté sexuelle. Mais il exprime aussi une ingression dans les ténèbres de la psyché, une tension entre volonté de jouissance dans la nouvelle Cythère et peur d’une sexualité féminine diabolisée et indomptée, entre désir de régression vers la mère et envie de fuir une figure tutélaire anxiogène. Le petit génie macabre contribue enfin à orienter l’œuvre vers une esthétique originale, mettant à mal les stéréotypes artistiques et idéologiques. / In 1892, Paul Gauguin’s painting Manao tupapau shows, behind a naked Tahitian woman, a little hooded character. The artist explains that this is a tupapau, that is to say a ghost in the Polynesian traditions. In reality the pattern already appeared in France in 1888, without any reference to Oceania, and it will haunt the work of Gauguin until he died in 1903. This figure, invasive in a so-called exotic and erotic work, deserves special attention, especially as most critics often trivialised or deleted it. Does this character prove that the artist is yielding to fin-de-siècle fantasy ? Is it a way to feed exotism, like the Orientalists painters, by the coexistence between this shadowy ghost and the « belle des îles » ? Knowing that Gauguin hated the mercantilist and racialist Europe, does he have a real interest in the Polynesian occult world and beliefs as they were fought by Christian missions ? Our dissertation showed that Gauguin’s excursion in the Pacific islands went a downward spiral. When the Polynesian customs and religion are standardized by colonialism and Christianism, when guilt of damnation and mortality caused by the syphilis are spreading, the hooded genius represents death prevailing over pleasure, the demonization of sexual freedom. This figure expresses also a descent into the dark room that is Gauguin’s psyche, his being torn between will of enjoyment in the new Cythère and fear of a demonized and untamed female sexuality, between his desire to come back to the mother image and his avoidance of a stressful domination figure. At last the little genius helps to give the work an original esthetics, challenging artistic and ideological stereotypes.

This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.

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