- Paul Gauguin writing to Odilon Redon, cited in Dario Gamboni, Potential Images: Ambiguity and Indeterminacy in Modern Art (London: Reaktion Books, 2002), 96.
- See Miriam Kahn, ‘Tahiti Intertwined: Ancestral Land, Tourist Postcard and Nuclear Test Site’, American Anthropologist 102, no. 1 (2002): 7–26; Elizabeth C. Childs, Vanishing Paradise: Art and Exoticism in Colonial Tahiti (Berkeley: University of California Press, 2013).
- Griselda Pollock, Avant-Garde Gambits 1888–1893; Gender and the Color of History (New York: Thames and Hudson, 1992), 68. See also Lee Wallace, ‘Gauguin's Manao Tuapapau and Sodomitical Invitation’, Sexual Encounters: Pacific Texts, Modern Sexualities (Ithaca: Cornell University Press, 2003), 109–37.
- Elizabeth Childs, Vanishing Paradise, 91.
- Abigail Solomon-Godeau, ‘Going Native: Paul Gauguin and the Invention of Primitivist Modernism’, in The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrad (New York: Icon Editions, 1992), 326.
- Ibid., 327.
- Peter Brooks, ‘Gauguin's Tahitian Body’, in The Expanding Discourse: Feminism and Art History, 332–45.
- Ibid., 343, my emphasis.
- Naomi Maurer, The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent van Gogh and Paul Gauguin (Madison: Fairleigh Dickinson University Press, 1998), 173.
- Jane Duran, ‘Education and Feminist Aesthetics: Gauguin and the Exotic’, Journal of Aesthetic Education 43, no. 4, Winter 2009; 94, my emphasis.
- Jehanne Teilhet, ‘The Influence of Polynesian Culture and Art on the Works of Paul Gauguin: 1891–1903’ (PhD diss., University of California, Los Angeles, 1975), 383.
- Ibid., 386.
- Bengt Danielsson, Gauguin in the South Seas, trans. Reginald Spink (London: George Allen and Unwin, 1965), 121 and 283n92.
- Ibid., 182.
- Ibid.
- Ibid., 275.
- Ibid., 241.
- Ibid., 273.
- Ibid., 200.
- Ibid., 192.
- Vincent van Gogh cited in Stephen Eisenman, Gauguin's Skirt (London: Thames and Hudson, 1997), 54.
- Colta Feller Ives, The Great Wave: The Influence of Japanese Woodcuts on French Prints (New York: Metropolitan Museum of Art, 1974), 96.
- Paul Gauguin cited in Bengt Danielsson, ‘The Exotic Sources of Gauguin's Art’, Expedition, Summer 1969; 21.
- www.dettloff.org/Gauguin/reservoir_eng.html
- Tyla Vaeau, e-mail correspondence with the author, February 2011.
- Tyla Vaeau, e-mail correspondence with the author, January 2011.
- Ibid.
- Kay George, e-mail correspondence with the author, April 2011.
- Paul Gauguin cited in Francoise Cachin, Gauguin: The Quest for Paradise (New York: Thames and Hudson, 1992), 171.
- Naomi Maurer, The Pursuit of Spiritual Wisdom, 173.
- Bengt Danielsson, Gauguin in the South Seas, 241.
- Nicholas Wadley, ed., Noa Noa: Gauguin's Tahiti (Oxford: Phaidon, 1985), 33.
- Griselda Pollock, Avant-Garde Gambits, 17.
- Ibid., 26.
- Nancy Mowill Mathews, Paul Gauguin: An Erotic Life (New Haven: Yale University Press, 2001), 182–3.
- Lee Wallace, ‘Tropical Rearwindow: Gauguin's Manao Tupapau and Primitivist Ambivalence’, Genders 28 (1998), www.genders.org/g28/g28_gauguin.html.
- Peter Brooks, ‘Gauguin's Tahitian Body’, 336–7, my emphasis.
- Ibid., 337, my emphasis.
- Ibid., 340.
- Paul Gauguin, extract from Cahier pour Aline (1893), cited in Artists by Themselves: Gauguin, ed. Rachel Barnes (London: Bracken Books, 1992), 66.
- Elizabeth Childs, Vanishing Paradise, 37.
- Pierre Loti's The Marriage of Loti was originally published in 1880 as Rarahu. It tells the romanticised story of a relationship between a French naval officer and a young Tahitian woman, Rarahu. For Gauguin, the lure of Tahiti was partly informed by this novel.
- Caroline Vercoe, ‘The Many Faces of Paradise’, Paradise Now?: Contemporary Art from the Pacific (New York: Asia Society Museum, 2004), 43.
- Graham Fletcher, ‘Artist's Statement’, Virgin (Auckland: Anna Bibby Gallery, 2001).
- Stephen Eisenman, Gauguin's Skirt, 195.
- Ibid., 204.
- A prominent Tahitian family with royal lineage.
- Stephen Eisenman, Gauguin's Skirt, 204.
- Ibid., 204–5.
- Ibid., 205, my emphasis.
- Paul Gauguin, Paul Gauguin's Intimate Journals, trans. Van Wyck Brooks (Bloomington: Indiana University Press, 1958), 241.
- While Gauguin's lament for the lost savages of Tahiti displays a fraught, deluded colonial nostalgia, the death of Pomare V in 1891 had important historical, symbolic, and political significance. Childs writes that on his death, ‘the French government announced that Tahiti was now fully a French colony and that ‘by the terms of annexation, royalty ceases to exist… and no King can succeed him. Elizabeth Childs, Vanishing Paradise, 50.
- Anne Salmond's book focusing on the history of Tahiti from the time of Cook's arrival takes this name as its title: Aphrodite's Island (Auckland: Penguin, 2010).
- See Dario Gamboni, Potential Images, 96.
- Rachel Barnes, Artists by Themselves, 6.
Australian and New Zealand Journal of Art
Volume 13, 2013 - Issue 1: Contact