Throughout the 19th and 20th centuries, European art institutions and museums played a significant role in the development of artistic styles and the production of quality pieces. However, this period also witnessed the creation of false narratives within the art world, with imagined scenarios and stereotypes that were perpetuated. This period was also marked by the separation of the social classes and the general public’s more limited exposure to art and technology. These restrictions not only shaped how art was consumed but also led to the emergence of unrealistic portrayals and stereotypes based purely on imagination.

One example of how special effects and the rise of photography created images of a false reality can be seen in an image depicting Nadar on a hot air balloon above Paris. In the background, he appears surrounded by clouds, illuminated by a spotlight that captures him as the center of attention. The clever use of light and composition gives the impression of someone being a "star." This mass-produced picture, despite being printed in black and white, appeared so realistic to the people of the 19th century that many believed Nadar was truly floating in a hot air balloon. The novelty of technology in producing edited and believable images was still in its infancy, and people did not have other examples to compare with this print to develop critical viewing skills. They had no reason to question or doubt its authenticity, and thus, they readily accepted this false reality.

Edouard Manet's painting, "Olympia," also calls attention to the spread of false realities and perpetuation of stereotypes. Painted in 1865, "Olympia" depicts a sex worker, Olympia, partially covering/shielding her nude body while meeting the viewer’s gaze. Her stark white skin sharply contrasts with the flat background, and the intricate details on the silk-looking sheets beneath her. In the background, her Black and possibly enslaved servant is present and is seen offering her flowers, indicating that the painting was perhaps painted from the perspective of a man who is calling on her. Olympia's expression appears concerned and stiff, almost as if she is reluctant to be painted in such a vulnerable state. In this way, Manet’s painting does vary from other representations of mythological nude women at this time, because the painting calls attention to the prevalent narrative that women were expected to be easily accessible to men. This false narrative, rooted in the objectification and commodification of women, carries forward into future centuries and continues to influence societal perceptions even in the modern world.

In the 19th century, European artists engaged in a movement known as Primitivism, where reality was often distorted and misinformation perpetuated. Primitivism is the idealization of a place or culture from a colonial perspective, and this is problematic because it normalizes fantasies about distant locations and can lead to the objectification and sexualization of people. An instance of misleading representation can be found in Paul Gauguin's painting, "Mahana no auta" (Day of the God). Gauguin, a renowned Post-Impressionist artist, often sought inspiration from “exotic” locales, and Tahiti became his subject of fascination. Although this work of art is beautiful, Gauguin presents an idealized view of Tahiti, disregarding the fact that the French had already colonized the island by the time of his arrival. The vibrant pastel colors and serene depiction of naked women combing their hair near a body of water creates a romanticized image of a tropical paradise. In the center, a cultural statue stands prominently, its placement design to further emphasize the exoticism of the scene. The women on the sides of the painting, with their long hair and simple fabric dresses, are depicted as living a non-colonized life.

While “Day of the God” was based on a mythological narrative and therefore Gauguin had a loose reasoning behind why the painting might feature naked women in a paradise setting, other works more explicitly present the sexualization of Tahitian women. One example is “Delightful Land (Te Nave Nave Fenua)” (1892), where a naked woman is standing front and center touching a flower while in a forest. The title emphasizes that both the land and the woman are viewed as available in Gauguin’s fantasy. Gaugin describes this specific painting in his “Intimate Journals” as, “Seducing plants, stimulating sexual desire of Eve in the Garden of Eden.” In this work he is clearly representing Tahiti as a man’s paradise. When the European public viewed Gauguin’s work there is no doubt that many believed that this ‘fantasy’ of Tahiti was real, just as Gauguin had himself believed he was moving to eden.

Gauguin's work becomes a perpetuation of the false narrative surrounding Tahiti, presenting an idyllic vision that does not align with the reality of French colonization. The false view of Tahiti as an eternal paradise, combined with the sexualized portrayal of naked women, distorts the truth and perpetuates the fantasy created by previous artwork. Gauguin's paintings, such as "Mahana no auta" and "Delightful Land," exemplify this issue. Gauguin's interpretations of Polynesian mythology and his focus on naked women contribute to the creation of a man's paradise, reinforcing the notion that women are readily available in Tahiti. By relying on fantastical imagery and romanticized notions, Gauguin's work distorts the truth and reduces the richness and complexity of Polynesian culture to mere exoticism.

Another artist who arguably contributes to the spread of misinformation through primitivism is Henri Rousseau. His painting, "The Snake Charmer" (1907), portrays a Black woman as a snake charmer playing the flute on the side of a lake in a forest at night. The entire painting is dimly lit, and the woman's eyes seem to glow, adding an air of mystique to the scene. Artists describe this depiction as a scene from the Garden of Eden, stating that a woman charming a snake is both terrifying and seductive. While snake charmers did exist within cultures, they were not viewed as hyper-sexualized. Perhaps because they lived nomadic lifestyles they were seen as transgressive by Europeans. Linda Nochlin likewise discusses an example of the representation of a snake charmer as part of an exotic and somewhat seductive fantasy in Jean-Léon Gérôme’s earlier “Snake Charmer" (c.1897). The portrayal of naked snake charmers in the Middle East or in “wild” forests contributes to the exoticization of real communities and the sexualization of Black and Brown bodies, distorting reality and perpetuating stereotypes.

In conclusion, the art institutions and museums of previous centuries played a significant role in the development of art but European artists also contributed to the creation of false narratives about colonized nations. Primitivism as a broader concept does not always have to be a problem, but it is when someone else’s culture becomes an artistic fantasy that viewers do not question. A colonial worldview often prevented critical questioning and led to the acceptance of misleading representations. Nadar's hot air balloon is an early example of people believing the authenticity of photography, which would be later used to promote a colonial perspective of distant locations. Gauguin's Tahitian paintings and Rousseau's snake charmer highlight the style of primitivism. It is necessary to recognize that the perpetuation of visual stereotypes in these works has real world consequences for cultures and people, as exemplified by Gauguin’s personal life. It is crucial to challenge these false narratives, reinforce the truth, and respect the authenticity of cultures rather than reducing them to someone else's fantasy. By recognizing the influence of art in shaping perceptions and questioning the narratives it presents, we can strive for a more accurate understanding of the world and its diverse cultures.

References:

"Gauguin, Where Do We Come From? What Are We? Where Are We Going?" Khan Academy. https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/gauguin-where-do-we-come-from-what-are-we-where-are-we-going.

"Primitivism and Modern Art" Khan Academy. https://www.khanacademy.org/humanities/art-1010/beginners-guide-20th-c-art/xdc974a79:key-concepts/a/primitivism-and-modern-art.

Nochlin, Linda. "The Imaginary Orient." in The Politics of Vision: Essays on Nineteenth-Century Art and Society. Harper & Row, 1989.

Henry, Chaney-Aashona. "The Importance of Critical Viewing." The Department of Art and Theatre 2, no. 2 (2023): 27-31.

Paul Gauguin, Mahana no atua (Day of the God), 1894. Art Institute Chicago.

Henri Rousseau, The Snake Charmer, 1907. Musée d’Orsay, Paris.