Spirit of the Dead Watching
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In Spirit of the Dead Watching you're basically looking at Paul Gauguin's child porn ... so, yeah. 

The girl’s name is Tehura and she is Gauguin’s 14-year-old mistress.

Gauguin was inspired to paint this one night when he came home and found Tehura lying nude in bed in shock. Gauguin claims it was spirits of the dead that caused her fear and painted a creepy old lady as the guilty ghost. Historians suggest however, that the real fear was caused by Gauguin’s sexual abuse that takes this painting to an entirely new level of sexual sadism. Gauguin himself said that Tehura had never looked hotter than when she was this vulnerable and he vowed to never leave her. Bet she wishes he had. Gauguin would eventually give Tehura and the rest of the island girls syphilis

It had been about seven years since Gauguin abandoned his family in Denmark but in the weirdest estranged marriage ever Gauguin used to write to his wife, Mette, telling her about Tehura. Gauguin was so obsessed with Tehura he put this painting in the background of another painting- his Self-portrait with Hat.

One extra lovely fact about Gauguin, the pervert: he named his house/hut 'La Maison du Jouir' or 'The House of Orgasm' ... Lovely. 

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Here is what Wikipedia says about Spirit of the Dead Watching

Spirit of the Dead Watching (Manao tupapau) is an 1892 oil on burlap canvas painting by Paul Gauguin, depicting a naked Tahitian girl lying on her stomach. An old woman is seated behind her. Gauguin said the title may refer to either the girl imagining the ghost, or the ghost imagining her.


The subject of the painting is Gauguin's 13-year-old native "wife" Teha'amana (called Tehura in his letters), who one night, according to Gauguin, was lying in fear when he arrived home late: " ... motionless, naked, belly down on the bed: she stared up at me, her eyes wide with fear, '... Perhaps she took me, with my anguished face, for one of those legendary demons or specters, the Tupapaus that filled the sleepless nights of her people." Gaugin was suffering from advanced venereal disease when he came to Tahiti, and he passed it onto Teha'aman, who was his first sexual partner on the island.

Art historian Nancy Mowll Mathews says the painting is a direct descendant of a previous series of "frightened Eves" that Gauguin painted from 1889. His 1889 Breton Eve, shown at the Volpini exhibition of 1889, represented Eve as in fear of the snake, reinterpreting the traditional Christian theme of innocence before the fall. In his letter of 8 December 1892 to his wife Mette (famously neglecting to mention that the girl in question was his lover), he says "I painted a nude of a young girl. In this position she is on the verge of being indecent. But I want it that way: the lines and movement are interesting to me. And so, I give her, in depicting the head, a bit of a fright." He then needed to find a pretext for the girl's emotions. At first (in his letter to Mette) Gauguin made the old woman the subject of her fright, but later in his account in Noa Noa made himself the subject of her fear. Mathews says it is too simple to attribute Tehura's terror to her belief in spirits and irrational fear of the dark; she says, following Sweetman, that Gauguin's sexual predilections should not be ignored when trying to understand the work. Rather, she suggests the girl's fear was a response to Gauguin's aggressive behavior, consistent with his known physical abuse of his wife Mette, the submissive fear in her eyes his erotic reward.

Stephen F. Eisenman, professor of Art History at Northwestern University, suggests the painting and its narrative is "a veritable encyclopaedia of colonial racism and misogyny". Eisenman's book Gauguin's Skirt challenges conventional notions of the political and gender content of Gauguin's paintings. In Spirit he sees parallels not only with Manet's Olympia (see below), but also with the Louvre Hermaphrodite in the boyishness of the features and the a tergo posture. The androgynous depiction is in keeping with Polynesian cosmology and its stress on the dual nature of things.

Other historians such as Naomi E. Maurer have viewed the narrative as a device to make the indecency of the subject more acceptable to a European audience.

The painting appears (as a mirror image) in the background of another Gauguin painting, his Self-portrait with Hat, indicating the importance he attached to it.

Check out the full Wikipedia article about Spirit of the Dead Watching.