Artists' analysis 1

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Jan 9, 2024

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‘The Spirit of the Dead Watching’ by Gauguin and ‘Degeneration’ by Thomas West: A comparative analysis of the intersections of fear and culture. FINE 112 October 12 th , 2023 ’The Spirit of the Dead Watching’ (Gauguin, 1892) Where do We Come From? What Are We? Where Are We Going? (Gauguin, 1897) I have attached a digital photo of both ‘The Spirit of The Dead Watching’ and “Where do We Come from? What are we? Where are we going?’ as West uses Gauguin’s 1897 painting and references Gauguin throughout the chapter. ‘Degeneration’ by Shearer West shares thematic resonance with both Gauguin’s art works. There are 4 main themes I believe to be evident between all three pieces. Firstly, all three pieces

suggest existential exploration. ‘The Spirit of The Dead Watching’ painted by Gauguin in 1892 portrays a young Tahitian girl seemingly in a moment of tension and unease while a cloaked figure watches over her from behind. It is often thought of as the spirit of a ghost or ancestor. Showing the contemplation of life, death and the unknown. ‘Where do we come from? What are we? Where are we going?’ is an even more direct exploration into existence, tracing the journey from life to death. The questions posed in the title are explored throughout the work. In relation to “Degeneration” the exploration of existence in Gauguin’s artwork reflects on the anxieties present within the fin de siècle era, this era was ravaged with societal changes and fears about the future. These thoughts and feelings in turn became questions about the very nature of existence. The second theme present is cultural contrast and ‘primitive’ fascination. This period of Gauguin’s artworks was painted during his time spent in Tahiti. Therefore, displaying the women in minimal or no clothing reflecting on western fascination perceived of ‘primitive’ cultures. Degeneration focuses more on the degeneration of western culture, West can be noted saying that the more modern trapping civilization becomes, the more primitive the civilians seem to become (West, 1993 pg.24). This means that societal decay will lead to a more ‘basic’ existence. For the final themes, spirituality, mysticism and anxiety are all present throughout the works. Gauguin’s pieces display eerie figures that seem to be watching over the women. The figures can be interpreted as ghosts, ancestors or spirits. The 19 th century saw a surge in spiritualism and mysticism. The fin de siècle era’s hardships pushed the civilians to seek solace beyond traditional social and religious confines. West also notes in relation to ‘actions outside the norm’ that both Lombroso and Richard von Krafft-Ebing both believed that sexual behavior outside of monogamous relations are symbols of potential or active degeneration of modern society (West, 1993 pg. 20). This can be related to traveling outside of mainstream norms as monogamous

relations hold high merit in Christianity as well as it is deemed immoral to cheat on your partner in society. In conclusion, both “The spirits of The Dead Watching” and “Degeneration” share similar themes with much still left for interpretation. Both West and Gauguin capture the essence of civilization in raw light. Both pieces, although in completely different mediums, shed light on the complexity of the human condition. The visual Gauguin offers not only challenge societal conventions but also compels viewers to confront the state of existence. Similarly, “Degeneration” by Shearer West offers a more critical viewpoint to display the intricacies and symptoms of a civilization in decay and with hope for renewal.

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References: Gauguin, P. (1897-1898). Where Do We Come From? What Are We? Where Are We Going? [Digital image]. Gauguin.org. https://www.gauguin.org/where-do-we-come-from-what-are- we.jsp Gauguin, P. (1892.). Manaò Tupapàu (Spirit of the Dead Watching). Buffalo AKG Art Museum. Retrieved from https://buffaloakg.org/artworks/19651-mana%C3%B2-tupapa%C3%BA-spirit- dead-watching West, S. (1993). Degeneration. In Fin de Siècle (pp. 16-32 + figures 14-20). Woodstock, New York: The Overlook Press.

Artists' analysis 1

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