Oviri - Wikipedia https://en.wikipedia.

org/wiki/Oviri

Oviri
Oviri (Tahitian for savage or wild)[1] is an 1894 ceramic
sculpture by the French artist Paul Gauguin. In Tahitian
mythology, Oviri was the goddess of mourning. She is
shown with long pale hair, and wild eyes, smothering a wolf
with her feet, while clutching a cub in her arms. Art
historians have presented multiple interpretations—usually
that Gauguin intended it as an epithet to reinforce his self-
image as a "civilised savage". Tahitian goddesses of her era
had passed from folk memory by 1894, yet Gauguin
romanticises the island's past as he reaches towards more
ancient sources, including an Assyrian relief of a "master of
animals" type, and Majapahit mummies. Other possible
influences include preserved skulls from the Marquesas
Islands, figures found at Borobudur, and a 9th-century
Mahayana Buddhist temple in central Java.

Gauguin made three casts, each in partially glazed

stoneware, and while several copies exist in plaster or
bronze, the original cast is in the Musée d'Orsay. His sales
of the casts were not successful, and at a low financial and
personal ebb he asked for one to be placed on his grave.
There are only three other surviving comments of his on
the figure: he described the figure as a strange and cruel
enigma on an 1895 presentation mount of two impressions
of a woodcut of Oviri for Stéphane Mallarmé; he referred to Paul Gauguin, Oviri (Sauvage), 1894, partially
it as La Tueuse ("The Murderess") in a 1897 letter to glazed stoneware, 75 x 19 x 27 cm (29.5 x 7.5 x
10.6 in), Musée d'Orsay, Paris
Ambroise Vollard; and he appended an inscription
referencing Honoré de Balzac's novel Séraphîta in a c. 1899
drawing.[2] Oviri was exhibited at the 1906 Salon d'Automne (no. 57)[3] where it influenced Pablo Picasso, who
based one of the figures in Les Demoiselles d'Avignon on it.[4]

Contents
Background
Description and sources
Interpretation
Tahiti deity
Colonial experience
Self portrait

Reception and influence

Recent exhibitions

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Sources
Notes
References
Bibliography

External links

Background
Gauguin was foremost a painter; he came to ceramics around 1886, when he was taught by the French sculptor and
ceramist Ernest Chaplet. They had been introduced by Félix Bracquemond[5] who, inspired by the new French art
pottery, was experimenting with the form. During that winter of 1886–87, Gauguin visited Chaplet's workshop at
Vaugirard, where they collaborated on stoneware pots with applied figures or ornamental fragments and multiple
handles.[6]

Gauguin first visited Tahiti in 1891, and attracted by the beauty

of Tahitian women undertook a set of sculptural mask-like
portraits on paper. They evoke both melancholy and death, and
conjure the state of faaturuma (brooding or melancholy);
imagery and moods later used in the Oviri ceramic.[7] Gauguin's
first wood carvings in Tahiti were with a guava wood that quickly
crumbled and have not survived.

He completed Oviri in the winter of 1894, during his return from

Tahiti, and submitted it to the Société Nationale des Beaux-Arts
Jules Agostini's 1896 photograph of
1895 salon opening in April the following year.[8] There are two
Gauguin's house in Puna'auia, French
versions of what ensued: Charles Morice claimed in 1920 that Polynesia
Gauguin was "literally expelled" from the exhibition; in 1937
Ambroise Vollard wrote that the piece was admitted only when
Chaplet threatened to withdraw his own works in protest.[9] According to Bengt Danielsson, Gauguin was keen to
increase his public exposure and availed of this opportunity by writing an outraged letter to Le Soir, bemoaning
the state of modern ceramics.[10]

At the outset of 1897, Vollard addressed a letter to Gauguin about the possibility of casting his sculptures in
bronze. Gauguin's response centred on Oviri:

I believe that my large statue in ceramic, the Tueuse ("The Murderess"), is an exceptional piece such
as no ceramist has made until now and that, in addition, it would look very well cast in bronze
(without retouching and without patina). In this way the buyer would not only have the ceramic
piece itself, but also a bronze edition with which to make money.[11]

Art historian Christopher Gray mentions three plaster casts, the fissured surfaces of which suggest that they were
taken from a prior undocumented wood carving no longer extant. One was given to Daniel Monfreid and now
belongs to the Musée départemental Maurice Denis "The Priory" in Saint-Germain-en-Laye. Another version in
plaster, with the surface finish of wood, was kept by Gustave Fayet, and subsequently formed part of the collection
of his son, Léon. The third version was kept by the artist who made the casts.[12][13] A number of bronzes were
produced, including the version placed on Gauguin's grave at Atuona, cast by the Fondation Singer-Polignac and
erected 29 March 1973.[12][14]

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Description and sources

First issue of Le Sourire, Journal sérieux, 1899.
Louvre, Cabinet des dessins
Oviri has long blonde or grey hair reaching to her knees.
Her head and eyes are disproportionately large, while the
aperture at the back of her head resembles a vaginal orifice.
[15][16] She holds a wolf cub to her hip, a symbol of her
indifference and wild power.[16][17] It is not clear whether
Oviri is smothering or hugging the cub,[18] but her pose
invokes ideas of sacrifice, infanticide and the archetype of
the vengeful mother, influenced by Eugène Delacroix's
1838 painting, Medea About to Kill Her Children.[19] A
second animal, likely another wolf, is at her feet either
curling in submission or dead.[20] Art historians including
Sue Taylor suggest the second animal may represent
Gauguin.[21]

The association between the woman and a wolf stems from a remark Edgar Degas made defending Gauguin's work
at the poorly received 1893 Durand-Ruel exhibition, when Degas quoted La Fontaine's fable The Dog and the Wolf,
which is usually taken as implying that freedom should not be exchanged for comfort or financial gain: "You see,
Gauguin is the wolf."[21][22] In Oviri, the mature wolf, the European Gauguin, perishes while the whelp, the
Gauguin of Tahiti, survives.[23]

The Tahitian myths had largely disappeared by Gauguin's

time (he based his own accounts on other sources without
acknowledgement), as had most artefacts associated with
that culture. His representation of Oviri is largely a work of
imagination, informed by a collection of what he described
as his "little world of friends" and which he took with him
to Tahiti on his first visit. These included Odilon Redon's
lithograph La Mort, photographs of subjects such as a
temple frieze at Borobudur, Java, and an Egyptian fresco Siddharta Gautama, 8th century frieze,
from an XVIIIth dynasty tomb at Thebes.[24] Other sources Borobudur
that have been suggested include an Assyrian relief of
Gilgamesh clutching a lion cub now in the Louvre, and a
Majapahit terracotta figure from the Djakarta museum.[25]

Oviri's head seems based on mummified skulls of chieftains in the Marquesas Islands, whose eye sockets were
traditionally encrusted with mother-of-pearl and worshiped as divine. Elements of her body may draw from
Borobudur images of fecundity. Thus life and death were evoked in the same image.[26] In a letter to Mallarmé
trying to raise a public subscription to purchase the work, Morice titled the sculpture Diane Chasseresse ("Diana
the Huntress"), an allusion to the ancient Greek goddess Diana of the hunt, moon and childbirth. He made the
same reference in his poems on Oviri. Barbara Landy interprets the life and death theme as indicating Gauguin's
need to abandon his civilised ego in a return to the natural state of the primitive savage.[9][27] The work is related to
the 1889 ceramic Black Venus, which shows a woman kneeling over a severed head resembling the artist.[21][28]

Nancy Mowll Mathews believes the creatures in her arms and at her feet are actually foxes, animals Gauguin had
used in his 1889 wood carving Be in Love, You Will Be Happy and in his 1891 Pont-Aven oil painting The Loss of
Virginity. In an 1889 letter to Émile Bernard, he described the Soyez amoureuses fox as an "Indian symbol of
perversity".[29] There is a long tradition in Asian folklore of foxes having the power to transform into women (for

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example in Japanese Yōkai or Kitsune folklore).[30]

Gauguin depicts the Oviri figure in at least one drawing, two watercolour transfer monotypes and two woodcuts. It
is possible that the woodcuts were created in Pont-Aven in the summer of 1894; before the ceramic.[31] The last to
appear is probably the drawing in what is apparently the first issue of Gauguin's Papeete broadsheet Le Sourire
"(The Smile: A Serious Newspaper)" published between August 1899 and April 1900. It was accompanied by the
inscription "Et le monstre, entraînant sa créature, féconde de sa semence des flancs généreux pour engendrer
Séraphitus-Séraphita" (And the monster, embracing its creation, filled her generous womb with seed and
fathered Séraphitus-Séraphita). Séraphitus-Séraphita is an allusion to Honoré de Balzac's novel Séraphîta which
features an androgynous hero. In this first issue of Le Sourire, he reviewed a local Maohi author's play by that dealt
with incest (among other themes), and invokes 'Séraphitus-Séraphita'. The review congratulated the play's "savage
author" and ended with a plea for women's liberation through the abolition of marriage. The accompanying
drawing is distinctly androgynous.[32]

Relief from a façade in the throne Pot Anthropomorphe, 1889, glazed Paul Gauguin, 1893–95, Objet
room of Sargon II (Khorsabad, stoneware, Musée d'Orsay décoratif carré avec dieux
713–706 BC), showing an tahitiens, terracotta, Musée
Assyrian hero grasping a lion and d'Orsay
a snake, Louvre

Oviri, 1894, watercolour monotype,

Fogg Museum, Boston

Interpretation
Art historians have put forward various theories as to the seeming multiplicity of meanings inherent in Gauguin's
representation. Most obviously the figure invokes Tahitian legend and themes of death and superstition. It reflects

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the artist's view of female sexuality; a common motif in 19th century art was the connection between long, wild
hair and evil femininity. Related is the delight Gauguin took from its alternative title "savage" and the implications
of a brutal, bloodthirsty deity, which seems to refer as much to himself as the goddess.[33]

Tahiti deity
Oviri, 1894, watercolour
monotype heightened with
gouache on Japan paper
laid down on board. Private
collection
Gauguin's figure invokes the Polynesian goddess Hina,
depicted by Morice as a Diana-like deity clutching a wolf
cub, "monstrous and majestic, drunk with pride, rage and
sorrow".[34] He titled an 1894 self-portrait in plaster as
Oviri.[16] The original is lost but a number of bronze casts
survive. He used double mirrors to capture his familiar
Inca profile, the result reprising his Jug in the Form of a
Head, Self-Portrait. This was one of the earliest
occasions Gauguin applied the term Oviri to himself.
[35][36][37] "Gauguin sometimes also referred to himself as
Oviri, the savage ...", writes Merete Bodelsen.[38][39] The
Oviri 1894, woodcut
Stuttgart version of his 1892 oil painting E haere oe i hia
in brown ink on
(Where Are You Going?) depicts a woman clutching a
wove paper.
Museum of Fine wolf cub.[40] Pollitt remarks that this stocky, sculptural
Arts, Boston and androgynous figure gives a first glimpse of Oviri.
[19][a]

Oviri was the title of a favourite Tahitian song – a melancholy tune of love and longing that mentions the subject's
"savage, restless heart".[10] It recounts the love between two women for each other, both of whom have grown
silent and cold. Gauguin translated the verse in his series of romanticised journal Noa Noa (Tahitian for
"fragrance", a written project he undertook to examine his Tahitian experience, which he accompanied with a
series of ten woodcuts);[41][42] the only one of his songs reprinted in the Tahitian newspaper La Guêpes when he
became editor.[b] Danielsson believes the song echoes Gauguin's dual attachment to his Danish wife Mette and his
then vahine (Tahitian for "woman") Teha'amana, his young native wife and the focal point of Noa Noa.[43]

Colonial experience
Noa Noa contains an account of a journey into the
mountains with a young man whom he eventually
understands as sexless, leading him to meditate on
the "androgynous side of the savage" in his
manuscript.[44][45][46] Ben Pollitt notes that in
Tahitian culture the craftsman/artist, neither
warrior/hunter nor homemaker/carer, was
conceived androgynously, an ambiguous gender
position that appealed to Gauguin's subversive
nature.[19] Taylor believes Morice may have been
describing Gauguin in his 1897 poem Shining Hina
of the Woods as part of two long extracts from their
collaboration on Noa Noa. Gray views the sculpture
Rave te iti aamu (The Idol), 1898. Hermitage Museum
as representing "the expression of Gauguin's
profound disillusionment and discouragement".[8]

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Noa Noa is part of Gauguin's documentation of his experiences as a colonial visitor to Tahiti in 1891–1893. He first
used the term "Noa Noa" to describe the scent of Tahitian women: "A mingled perfume, half animal, half vegetable
emanated from them; the perfume of their blood and of the gardenia taitensis, which they wore in their hair".[47]
On his return to Paris in 1893, Gauguin was apprehensive about exhibiting his Tahitian works. Noa Noa was to
provide the context necessary for the public to comprehend the new motifs presented at his Durand-Ruel
exhibition. It was not completed in time for the opening of the exhibition.[48]

Self portrait
Gauguin asked that Oviri be placed on his grave,[c] which seems to indicate that he saw the figure as his alter ego.
According to Mathews, he saw the fox as changeable in its gender as he was, and thus symbolic of dangerous
sexuality.[49] A number of sources indicate that Gauguin was suffering a syphilitic rash that prevented him from
travelling to Tahiti for several months.[d] She suggests the orifice is a pars pro toto for the woman who infected
him.[15]

The anthropologist Paul van der Grijp believes Oviri was intended as an epithet to reinforce Gauguin's persona as
a "civilised savage".[50][51] In his final letter to Morice, the artist wrote that "You were wrong that day when you
said I was wrong to say I was a savage. It's true enough: I am a savage. And civilised people sense the fact. In my
work there is nothing that can surprise or disconcert, except the fact that I am a savage in spite of myself. That's
also why my work is inimitable."[e][16][18][52]

Reception and influence

Whether or not the sculpture was to be exhibited at the Salon de la
Nationale, it was scheduled for the café proprietor Lévy at 57 rue Saint-
Lazare, with whom Gauguin had concluded an agreement to represent
him before his last departure for Tahiti. It failed to sell, and Charles
Morice was unable to raise public money to acquire it for the nation.
Gauguin had thought his only likely interested patron would be
Gustave Fayet, who did eventually buy it for 1,500 francs, but in 1905,
after Gauguin's death.[53]
Oviri presentation mount for
Gauguin was celebrated by the Parisian avant-garde after the
Stéphane Mallarmé, 1895. Art
posthumous retrospective exhibitions at the Salon d'Automne in 1903 Institute of Chicago
and 1906. The power evoked by his work led directly to Les Demoiselles
d'Avignon in 1907. According to David Sweetman, Picasso became an
aficionado of Gauguin in 1902 when he befriended the expatriate Spanish sculptor and ceramist Paco Durrio in
Paris. Durrio was a friend of Gauguin and held several of his works in an attempt to help his poverty-stricken
friend in Tahiti by promoting his oeuvre in Paris.[54]

Art historian John Richardson writes:

The 1906 exhibition of Gauguin's work left Picasso more than ever in this artist's thrall. Gauguin
demonstrated the most disparate types of art—not to speak of elements from metaphysics,
ethnology, symbolism, the Bible, classical myths, and much else besides—could be combined into a
synthesis that was of its time yet timeless. An artist could also confound conventional notions of
beauty, he demonstrated, by harnessing his demons to the dark gods (not necessarily Tahitian ones)
and tapping a new source of divine energy.[55]

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Both Sweetman and Richardson point to the Gauguin Oviri as a major influence. First exhibited in the 1906 Salon
d'Automne retrospective, it was probably a direct influence on Les Demoiselles. David Sweetman writes,
"Gauguin's statue Oviri, which was prominently displayed in 1906, was to stimulate Picasso's interest in both
sculpture and ceramics, while the woodcuts would reinforce his interest in printmaking, though it was the element
of the primitive in all of them which most conditioned the direction that Picasso's art would take. This interest
would culminate in the seminal Les Demoiselles d'Avignon."[54]

In 2006, a bronze version of Oviri sold at Christie's New York for US$251,200.[12]

Recent exhibitions
Tokyo, Seibu Department Store; Kyoto, Musée National d'Art Moderne, and Fukuoka, Centre Culturel,
Gauguin, August 1969, no. 110
Munich, Haus der Kunst, Weltkulturen und Moderne Kunst, XX Olympics, July–August 1972, no. 1726
The Colour of sculpture 1840–1910, Henry Moore Institute, Leeds, 1996[56]
Gauguin Tahiti, Paris, 2003[57]
Gauguin Tahiti, Museum of Fine Arts, Boston, 2004[58]
Chefs-d'oeuvre du musée d'Orsay pour le 150e anniversaire de la galerie Tretyakov, Tretyakov Gallery,
Moscow, 2006[59]
Cézanne to Picasso, Ambroise Vollard, Patron of the Avant-Garde, Metropolitan Museum of Art, New York,
2006[60]
Cézanne to Picasso, Ambroise Vollard, Patron of the Avant-Garde, Art Institute of Chicago, 2007[61]
Gauguin, Maker of Myth. Tate Modern, London, 2010[62]
Gauguin, Maker of Myth, National Gallery of Art, Washington D.C., 2011[63]
Gauguin Polynesia, Ny Carlsberg Glyptotek, Copenhagen, 2011[64]
Gauguin Polynesia, Seattle Art Museum, Seattle, 2012[65]
Gauguin, Metamorphosis; MoMA, NYC, 2014[66]
Paul Gauguin, Fondation Beyeler, Riehen, 2015[67]

Sources

Notes
a. Taylor believes the ceramic pre-dates other representations. The 1892 painting is of dubious provenance and
not known before 1923, its authenticity questioned by Richard Field, Paul Gauguin: The Paintings of the First
Voyage to Tahiti. See Taylor, 346.
b. Gauguin copied the song into his second 1893–95 draft in collaboration with Morice. Danielsson describes the
translation as very poor and provides his own.
c. Letter XLVIII to Monfreid (https://archive.org/stream/letterspaulgaug00gauggoog#page/n145/mode/2up): the
sculpture is not named and he says in the first place he wants it to decorate his garden: "The large ceramic
figure that did not find a purchaser ... I should like to have it here for the decoration of my garden and to put on
my tomb in Tahiti."
d. Danielsson, 182, mentions an oral source to the effect that when Gauguin returned, his vahine Teha'amana
spent a week with him but was repulsed by the running sores covering his body
e. Letter to Charles Morice, April 1903. Malingue 1949, CLXXXI: "Tu t'es trompé un jour en disant que j'avais tort
de dire que je suis un sauvage. Cela est cependant vrai: je suis un sauvage. Et les civilisés le pressentent :
car dans mes œuvres il n'y a rien qui surprenne, déroute, si ce n'est ce « malgré-moi-de-sauvage ». C'est
pourquoi c'est inimitable."

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34. Taylor, 211, 214

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Brettell, Richard; Zegers, Peter. The Art of Paul Gauguin. Washington, D.C.: National Gallery of Art, 1988.
ISBN 978-0-8212-1723-8
Cachin, Françoise. Gauguin. Paris: Flammarion, 1990. ISBN 978-2-08-030430-8
Campbell, Gordon. The Grove Encyclopedia of Decorative Arts, Volume 1. Oxford: Oxford University Press,
1996. ISBN 978-0-397-58773-5
Castets, H. Gauguin, Revue universelle, III:xcvi, 15 October 1903, p. 536
Chipp, Herschel Browning. In: Selz, Peter (ed). Theories of Modern Art. Oakland, CA: University of California
Press, 1984. ISBN 978-0-520-05256-7
Danielsson, Bengt. Gauguin in the South Seas. New York, NY: Doubleday and Company, 1965
Eisenman, Stephen. Gauguin's Skirt. London: Thames and Hudson, 1999. ISBN 978-0-500-28038-6
Frèches-Thory, Claire; Zegers, Peter. The Art of Paul Gauguin. Washington, D.C.: National Gallery of Art,
1988. ISBN 0-8212-1723-2
Gedo, John. "The Inner World of Paul Gauguin". The Annual of Psychoanalysis, v. 22. London: Routledge,
1994. ISBN 978-0-88163-135-7
Gray, Christopher. Sculpture and Ceramics of Paul Gauguin. Baltimore, MA: Johns Hopkins Press, no. 113,
1963
Ives, Colta. The Great Wave: The Influence of Japanese Woodcuts on French Prints. New York: Bulfinch
Press, 1981. ISBN 978-0-87099-228-5
Landy, Barbara. "The Meaning of Gauguin's 'Oviri' Ceramic". Burlington Magazine, Volume 109, No. 769, April
1967
Malingue, Maurice. Paul Gauguin: Letters to his Wife and Friends. Cleveland, OH: MFA Publications, 1949.
ISBN 978-0-87846-665-8
Mathews, Nancy Mowll. Paul Gauguin, an Erotic Life. New Haven, CT: Yale University Press, 2001.
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Maurer, Naomi. The Pursuit of Spiritual Wisdom. Madison, NG: Fairleigh Dickinson University Press, 1998.
ISBN 978-0-8386-3749-4
Morice, Charles. Noa Noa: The Tahiti Journal of Paul Gauguin. San Francisco, CA: Chronicle, 1901.
ISBN 978-0-8118-0366-3
Morice, Charles. Paul Gauguin, Paris, 1919. 158–9
Nicole, Robert. The Word, the Pen, and the Pistol: Literature and Power in Tahiti. New York: State University
of New York Press, 2000. ISBN 978-0-7914-4740-6
Pielkovo, Ruth. The letters of Paul Gauguin to Georges Daniel de Monfreid. Madison WS: University of
Wisconsin, 1922
Richardson, John A. A Life Of Picasso, The Cubist Rebel 1907–1916. New York: Alfred A. Knopf, 1991.
ISBN 978-0-307-26665-1

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Oviri - Wikipedia https://en.wikipedia.org/wiki/Oviri

Schackelford, George. Gauguin, Tahiti. Boston MA: Museum of Fine Arts, 2004. ISBN 978-0-87846-666-5
Solomon-Godeau, Abigail. Going Native, Paul Gauguin and the Invention of the Primitivist Modernist
(https://www.msu.edu/course/ha/446/goingnative.pdf). The Expanding Discourse: Feminism and Art History.
Boulder, CO: WestView, 1992
Sugana, G.M. L'opera completa di Gauguin, p. 111, no. 394-1, Milan, 1972
Sweetman, David. Paul Gauguin: A life. New York: Simon & Schuster, 1995. ISBN 978-0-684-80941-0
Szech, Anna. Paul Gauguin. Stuttgart: Hatje Cantz, 2015. ISBN 978-3-7757-3959-7
Taylor, Sue. "Oviri: Gauguin's Savage Woman". Journal of Art History, Volume 62, Issue 3/4, 1993
Thomson, Belinda. Gauguin. London: Thames and Hudson, 1987. ISBN 978-0-500-20220-3
van der Grijp, Paul. An Anthropology of the Yearning for Authenticity. Münster: Lit Verlag, 2009.
ISBN 978-3-8258-1667-4
Vollard, A. Souvenirs d'un marchand de tableaux, Paris, 1937, p. 197
Wadley, N. ed., Noa Noa, Gauguin's Tahiti, p. 124, pl. 79, London, 1985

External links
Beril Becker, Paul Gauguin, The Calm Madman, Tudor Publishing Co., New York, 1935 (full text)
(https://archive.org/details/paulgauguintheca007773mbp)
Field, Richard S; Philadelphia Museum of Art, Paul Gauguin: Monotypes, 1973, Catalog of the exhibition held
at the Philadelphia Museum of Art, March 23-May 13, 1973 (full text) (https://archive.org/details
/paulgauguinmonot00gaug)
The letters of Paul Gauguin to Georges Daniel de Monfreid, translated by Ruth Pielkovo, Forward by
Frederick O'Brien, Dodd, Mead and Company, 1922 (full text) (https://archive.org/details
/letterspaulgaug00gauggoog)

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