The conceptual dullness of the new French biopic Gauguin: Voyage to Tahiti hit me especially hard, since I was fired up to see those Tahitian pictures after a June trip to Paris and the Musee D’Orsay, where many of them reside. Have you been to a highly-touristed art museum lately? It used to be that if you wanted to get close to study the brush strokes it was a guard who’d ask you to step back. Now, it’s people who yell at you for blocking their iPhone photos. The museum’s Postimpressionist area would be a great place to get lost, but, like Paul Gauguin, it ends up making you want to flee civilization for shady pandanus glades halfway around the world — preferably without Gauguin’s raging syphilis.
The syphilis isn’t mentioned by name in Gauguin: Voyage to Tahiti, although Gauguin has an unspecified cough that will obviously be fatal, because in biopics there is no such thing as an inconsequential cough. But as played by the febrile Vincent Cassel, this Gauguin seems too tightly wound for sex. The image of Gauguin the voluptuary eating and screwing and painting naked Tahitian women might be a cliché, but the director, Edouard Deluc, has gone to the other extreme. Although the script is based on Gauguin’s own writing, the film presents him as such a gloomy Gus that he might have swapped souls with his onetime pal Van Gogh.
The movie opens in France, where Gauguin is stricken that his oh-so-proper wife won’t come to Tahiti with the kids — though I imagine she’d have put a crimp in his lifestyle if she had. He does need her family money, since rich people are finding his latest works a mite unruly. He’s also dismayed that none of his fellow painters or acolytes will abandon Paris for distant French Colonial paradises. What Deluc gets right is that Gauguin, like most great artists but few in great-artist biopics, spends most of his time not carousing but sitting in front of canvases. What doesn’t come through is how entwined in Tahiti Gauguin’s various impulses were. The artist tells a doctor friend, “I paint and draw all day long and live in harmony with everything around me,” but you don’t see Buddhist oneness in Cassel’s face, especially as he ages into someone resembling Fagin. Non-transcendental, too, are composer Warren Ellis’s somber cellos and violins [. . . ]
The Jewish-Italian artist womanized, drank, and did drugs — and in his 35 years created an impressive oeuvre, now showing in a blockbuster exhibit at Tate Modern
Despite this, Modigliani’s output was considerable and his work is currently the subject of a blockbuster exhibition at Tate Modern, in London.
His major retrospective is the most comprehensive Modigliani exhibition ever held in the United Kingdom. With over 100 works, it brings together a range of his portraits, landscapes, sculptures and 12 of his iconic, languorous, female nudes, some of which have never been shown in the UK before.
These seductive figures, such as “Reclining Nude on a White Cushion” (1917), “Female Nude” (1916) and “Seated Nude” (1916) constitute many of his best-known works today. But in the early 20th century, the provocative paintings proved controversial, shocking the French establishment.
In 1917, they were included in Modigliani’s only solo exhibition in his lifetime, but were subject to censorship on grounds of indecency: A police commissioner objected to Modigliani’s depiction of pubic hair, finding it offensive [ . . . ]