body and soul to me
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    Imagine Manet called  her 'Nevermore' instead of 'Olympia',Gauguin other way round. Difference of nametag and voice. Olympia nametag on outermost clothing of painting while Nevermore her silent voice.

    'When Will You Marry?', 'What, Are You Jealous?', 'Why Are You Angry? and so forth. And panoramic Where Do We Come From? What Are We? Where Are We Going? Who's speaking? Body and soul of image.


    Gauguin learned lot from Manet acknowledgment of strong human presence of human figure but cared less for embedded tableau allusion to Venus or some Archaic kore. Belong to oneself one does not have a name because no third to tell about. Gauguin Cartesian mind but then not in search of some founding certainty of cognition but quite opposite, everyone of his figures in distress or uncertainty about him herself everyone of us question to ourselves. Yet captivating. Captivate Gauguin eye of mind.

  • [2031]

    A name is a constant. Name of this or that Gauguin painting response to involvement of situation. Heard of infant baby given the name 'Why am I here?' by Chief of Indian Nation assist parents in name-giving after having contemplated newborn for days on end.


    Wittgenstein writes person's name necklace cannot be taken away from him her. The name Why am I here? no decoration but expression of grammar. Imagine dialogue consisting of peple saying nothing but their names. Is it not as that Indian community took Wittgenstein name-necklace cannot be stolen a step further? As did grammarian Gauguin in baptizing one of his paintings "Why Are You Angry?"

  • [2033]

    Pick name from set or listen to eyes of love. The name Why am I here? sprung from proto-life. Have we not all been struck by far experienced eyes of infant child?


    Closeup of cornered  figure When Are You Getting Married? hanging in the air no narrative but twisted attitude. Different from Gauguin big machine Where Do We Come From? What Are We? Where Are We Going? Falls apart.

    In allegories prison camps queues and waiting rooms people are forced together and there is reason or force to account for it. Never intrigues like striking expression of individuals that cannot be fully accounted for.


    Gauguin figure gravity of Michelangelo with telling difference: Michelangelo succumbs to overpowering downpull while Gauguin curled up and contained within own body confines as perfectly as the Brancusi Cup.


    Gauguin couples as far away from Classicism as Watteau yet quest of balance only individuals recognize. Disturbed in case of  Watteau by body language while in Gauguin literally: What! Are You Jealous? Words explicit where signals suggest.


    Fly on nose dog asleep some twitching then nothing. Stray light Hopper window somebody check, nothing, house back to night solid peace of sleep


    Empty stage embedded in every embedded tableau coming out as silent solitude and immobilization of Le Nain figures because strangers in strange place. Cf actors no strangers own the place if good.

    Commotion Leonardo’ Last Supper fills the room nobody knows the place apart from the event whereas Bouts Supper easy to imagine after the event but then not as strange place, enter a servant brushing crumbs away noticing some stains of wine adjusting chairs leaving next serving in mind.

    Leonardo Supper connects most obviously to the dining hall of the monks but like all linear perspectives affords continuum of endless regression for eyes only. As to Bouts take step down and you are among them while Leonardo floor starts on loft reached by ladder.

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