Savage Nature and Ecologic Exchange
نویسنده
چکیده
“T are neither carnivores nor reptiles in Tahiti,” wrote Paul Gauguin in his journal Noa Noa. “The only ‘wild game’ on the island are the pigs which have escaped into the forest, where they have multiplied and become entirely wild.” The artist’s first impression after the long voyage, “sixty-three days of feverish expectancy,” was “nothing very extraordinary; nothing, for instance, that could be compared with the magnificent bay of Rio de Janeiro.” A native Parisian, Gauguin had spent his childhood in South America, where his family had ties to Spanish nobility in Peru. His mother collected pre-Columbian pottery. These early life experiences he mythologized into a complex persona, often referring to himself as part savage. “You know that I have Indian blood, Inca blood in me, and it’s reflected in everything I do.... I try to confront rotten civilization with something more natural, based on savagery.” This desire to escape his own times and the vestiges of a civilization he considered corrupt and dehumanizing guided Gauguin’s work. He came to art late in life, first cautiously as a collector; then for pleasure, as friend of Edgar Degas, Paul Cézanne, and Camille Pissarro. He became entirely consumed by art when he worked for a time with Vincent van Gogh. “I am a great artist and I know it.” After the stock market crash in 1882, he left Paris to travel and seek the authentic life he believed would lead
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