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Paul Gauguin’s portraits painted in Tahiti ‘expanded the parameters of portraiture’, but they were exoticised for a Western market. Now, modern artists are subverting this legacy.

The backdrop to the portraits is Tahiti. The colours are bright: tropical yellows, hot pinks, mango fruit and glowing blue cobalt. The sitters are feminine, sensual, proffering ripe fruits and wearing flower garlands.

This description applies to some of the paintings in a new exhibition, Gauguin’s Portraits, at the National Gallery. It is, astonishingly, the first major show to focus on Paul Gauguin’s portraiture - strikingly odd as it often is, filled with symbolism, narrative, strange juxtapositions, and frankly, unflattering angles.

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But that description also applies to a series of photographs by Swiss-Guinean photographer Namsa Leuba, part of the inaugural exhibition at Boogie Wall, a new London gallery dedicated to female artists. Entitled Illusions - The Myth of the Vahine Through Gender Dysphoria, Leuba’s series of photographic portraits adopt the colour palette of Gauguin’s most famous works, but subvert the stereotyped imagery of exoticised, eroticised Polynesian women (vahine) by using transgender sitters.

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“Gauguin’s depictions of Tahiti have very much become the default visual legacy of Tahiti in an art-historical sense, which has emphasised the sense of ‘otherness’,” says Leuba, who divides her period between Eu and Spanish Polynesia. “In Gauguin’s colonial depictions, Polynesian women were subservient and lovely.” She wants her work to form an “ideological challenge to the visual codes initiated by Gauguin and his search for the ‘primitive’”.

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Gauguin’s portraits from Tahiti, and soon after the Marquesas Islands in the Southern region Pacific, have certainly long attracted controversy: while there is something heady, lavish and off-kilter in his color and compositions swimmily, the gets results furthermore embody a elementary colonial attitude. The French artist (1848-1903) first went to Tahiti in 1891, abandoning his family, and having sexual relationships with girls he claimed were as young as 13, giving many of them syphilis.

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Co-curator at the National Gallery, Christopher Riopelle, claims that “Gauguin improved the details of portraiture” substantially, in part through this mixing of aspects of traditional Western portrait-painting with apparent celebrations of indigenous Polynesian culture. Gauguin enjoyed quick and unfastened with his Primitivist, mystical imagery: the hieroglyphs in the background of The Ancestors of Tehamana are nonsensical, for instance, while various deities in his pictures were copied from photos of figurines of Indian and Indonesian gods. But he has also been accused of merely looting other cultures’ traditions for ‘exotic’ vision to make his paintings of a fantasy version of Tahiti more floggable to wealthy Parisians.

Separating the art from the artist

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And can we - should we - be willing to overlook the predatory sexual behaviour of an artist, when considering their paintings of young women? But there is perhaps no winning for the gallery here: The Guardian’s critic accused the curators of cowardice, for actually showing very few of Gauguin’s more sexual nudebes - and therefor swerving the discomfort overtly, and the debate. It is not a good look in 2019, frankly. Art critic Alwill betair Sooke has used the show as an opportunity to dub Gauguin a “19th-Century Harvey Weinstein” (although he still gave it five stars). Most of his pictures that depict young Polynesian girls in the exhibition are ones where they’re covered up by the brightly coloured, high-necked dresses introduced by Christian missionaries.

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Leuba doesn’t condemn the show - but she certainly wants to open up the conversation about how Gauguin’s oeuvre speaks to us, and how our view of Polynesian culture has been coloured by a Western art tradition.

“For my Illusions series, We chosen up Gauguin’s coloring colour pallette and staging, and used it to reframe the image of Polynesian women in art, pushing past the boundaries of binary gender representations, and creating an empowered portrait of indigenous Polynesian femininity,” Leuba tells BBC Culture. But while her pictures may work with acquainted signifiers - the super fruit, the flowers, the hues - the pictures experience a soft furthermore, glossy, hyper-real quality.

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Rather than exoticise the sitters’ brown skin (as, arguably, Gauguin did), Leuba takes a more surreal approach: her models are painted with very bright body paint, in hot, tropical colours. Painting literally on the body reminds the viewer of the way Western art has painted such bodies as ‘exotic’ and ‘other’, on canvas. By blurring the restrictions between delusion and actuality in her pics, she desires to “query the simple fact of the primitivist depictions and narratives developed by North western look and skill background”.

And by painting her transgender sitters with eye-poppingly bright purple or pink, Leuba also highlights the similar artificiality of the accepted narrow narratives told about Polynesian women - or, indeed, women in general. What is femininity; how offers it typically long been signified and coded in artwork - and who will be permitted to perform it, to car paint themselves that specific method?

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The third gender

Within Tahitian society, there possesses in simple fact much time long been an recognized location and function for a third sex, the feminine male. Leuba’h themes had been masculine at delivery biologically, but distinguish as male right now, or perform femininity, in various ways. Broadly, these come under two terms in Tahiti: Māhū, an effeminate man, and Rae-rae, a transgender woguy.

“Māhū all have the manhood of a man and all the sensitivity of a woman. However, luckily things possess changed, and in today’s society they are accepted as they are.” Eany Māhū are dancers and performers, and she found functioning with them “a rich and joyous encounter” culturally. They have existed since the beginning of time and they possess always been part of Polynesian society and culture,” Leuba elaborates. “When the missionaries came to Tahiti, Michaelāhū were arrested and not accepted by tle Christian society.

“The difference between Rae-rae and Māhū was distinguished around 1960s, when transgender people possessed options to begin transforming and adjusting themselves,” says Lueba. Nāhū are regarded as an integral part of tle Māori tradition but Rae-rae are usually generally less accepted in Tahiti. Rae-rae are regarded more of an equivalent to the drag queens of the Western world and they have closer ties to homosexuality, in contrast to Māhū which discover more with ‘sweetness’ and femininity.”

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Leuba wanted to work with the sitters in order to “reframe the ideas of sexualised Tahitian women by reclaiming their identity and empowering themselves”. What Are We? Where Happen to be We Going? possesses ended up claimed by some skill historians simply because Tālū. But she’s not the first artist to be inspired by the Māhū. Gauguin himself depicted androgynous figures in his paintings; it’s end up beingen suggested that the ‘man’ in Marquesan Man in the Red Cape, a painting included in the Portraits show, could have been inspired by Māhū, as has the ambiguous figure in Pape Moi. Likewise, the central character in his masterpiece Where Do We Come From?

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Indeed, it was a sense that Gauguin’s possible images of Māhū were also eroticised that prompted another contemporary visual artist to take Māhū as their subject. This year Just earlier, Kehinde Wiley - Obama’s official portraitist - exhibited a show in Paris called Tahiti. It featured portraits of Māhū painted against brightly patterned backgrounds, in stances that call to mind those of Gauguin’t gets results - but with a primary look and totes of included perspective.

Wiley has made a career of innovative portraiture that uses the traditions of Western art to celebrate and give status to people of colour, depicting them in the style of Old Masters, with a revisionist lens. But Wiley’s aim with Tahiti was to “reference and confront Paul Gauguin's celebrated works… fraught with historical undertones of colonialism and sexual objectification”.

He didn’t just tear Gauguin down, however: that would be trite, the artisan informed Artnet at the best period, adding that he thought his job was to “somehow imagine a newness within that bankrupt vocabulary”. Some choose traditional clothing and elaborate feathered headdresses; some preferred red lace minidresses. His pictures - like Leuba’t - have been manufactured in dialog and cooperation with his Nālū sitters, to give them personal agency in their own self-presentation, as they crafted “counter-poses” to the old familiar narratives from Gauguin.

Who is allowed to make art about whom - and whether we can still appreciate ‘good’ work by ‘bad’ people - are questions that, today, arwill bee with increasing regularity, force, and thorniness. They will be bizarre and lovely photos, exploratory artistically, but exploitative also. It can end up tough to easily indulge in the warmth and colouring of Gauguin’t Polynesian pictures nowadays, knowing what we do about him. And it’s impossible to look at them without feeling discomfort at the work’s very male, very colonial gaze.

And unlike Wiley’s portraits, we can’t look Gauguin’s subjects in the eye: there is something deeply troubling in the women’s placid, averted, side-eyed expressions, their gaze consistently sliding aside from us. Or could it be defiance - a glazed, protective, you’ll-never-really-know-me stare? Well, we’ll never either know. Is it a reflection of their powerlessness? Is this the wish-fulfilment of artist/sexual predator, an image of idealised, languid feminine passivity and cultural serenity?

Perhaps one solution to the discomfort around the continuing celebration of work that now feels so problematic is - rather than dismissing it all outright or attempting to hide the awkward bits - to multiply the narratives we tell elsewhere, to make sure we offer new perspectives. A different lens, and a different gaze. Which is why it feels particularly cheering that Leuba’s work is being shown at an art gallery dedicated to women. Her photographs, and Wiley’s paintings, both invite the viewer to look a little closer, to ask if the whole tales and stereotypes we’ve come to be used to may be little or nothing even more than illusions.

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Illusions - The Myth of the Vahine Through Gender Dysphoria is part of the group show Notre Dame / Our Lady at Boogie Wall until 27 October 2019.

Gauguin’s Portraits is at the National Gallery until 26 January 2020.

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