Final answer:
Paul Gauguin's use of primitivism in his depiction of Tahitian culture, particularly through his portrayal of Tehura, is criticized for reflecting his own fantasies rather than reality, thus failing as a genuine critique. The romanticized image he constructed neglects the dynamics of colonization and the subject’s true societal context.
Step-by-step explanation:
Paul Gauguin's narrative of his life and work intertwined with his adoption of primitivism offers a complex basis for critique. His move to Tahiti, seeking a more 'primitive' and pure aesthetic, reflected his desire to escape the strictures of European civilization and find a more authentic form of expression. However, Gauguin's work and his self-projected narrative have been challenged by art historians for its failure as a critique of primitivism, revealing more about Gauguin’s own perceptions and fantasies than the reality of the Tahitian culture.
Gauguin's portrayal of Tehura, a young Tahitian girl, is a salient example of this failure. Rather than portraying Tehura in her reality—as a practicing Christian within a colonized society—he imbued her and the environment with elements aligning with his own primitivist ideals. His depiction is less about the subject's truth and more about his personal ideological search for an untainted primitive life, which undermines the potential for primitivism to serve as a genuine critique.
Moreover, after returning to Paris, Gauguin's work became increasingly symbolic, moving away from the literal depictions required to faithfully represent his Tahitian experience. He abandoned the inclusion of 'known symbols', which could have provided a more honest commentary on the 'primitive' life in favor of abstract poetics, further distancing his work from accurate cultural representation.
Art historian Nancy Mowll Mathews presents another critique, arguing that the alleged fear depicted in Tehura's eyes might not have been of spirits, but rather a reflection of her fear of Gauguin himself, a middle-aged white male colonial figure. This disturbing insight points to the power dynamics at play and reveals how Gauguin's work fails as a critique by projecting a romanticized vision rather than confronting the significant social and ethical implications of his presence as a colonizer.