Manaò tupapaú

Spirit of the Dead Watching (Manao tupapau) is an 1892 oil on burlap canvas painting by Paul Gauguin, depicting a nude 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. Subject 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: "immobile, naked, lying face downward flat on the bed with the eyes inordinately large with fear [...] Might she not with my frightened face take me for one of the demons and specters, one of the Tupapaus, with which the legends of her race people sleepless nights?." Gauguin was suffering from advanced venereal disease when he came to Tahiti, and he passed it onto Teha'amana, 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.