In 1855, Paul Gauguin’s widowed mother Aline returned to her husband’s family in Orleans after seven years in Peru. She brought back her daughter Marie, eight-year-old son Paul and her collection of pre-Columbian artefacts. They had no commercial value but those strange objects, sprouting the heads of birds and animals, had a power that the westernised world had lost touch with.
Already a subscriber? Log in
Subscribe for just $2 a week
Try a month of The Spectator Australia absolutely free and without commitment. Not only that but – if you choose to continue – you’ll pay just $2 a week for your first year.
- Unlimited access to spectator.com.au and app
- The weekly edition on the Spectator Australia app
- Spectator podcasts and newsletters
- Full access to spectator.co.uk
Or
Unlock this article
You might disagree with half of it, but you’ll enjoy reading all of it. Try your first month for free, then just $2 a week for the remainder of your first year.
Comments
Don't miss out
Join the conversation with other Spectator Australia readers. Subscribe to leave a comment.
SUBSCRIBEAlready a subscriber? Log in