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拍品专文
Gauguin se comparait parfois à Oviri, la sauvage, la "tueuse" qui piétine un loup et étouffe un louveteau. Son visage comme momifié évoque la destruction du "moi civilisé" que Gauguin pense nécessaire à la régénération de son art. L'importance que Gauguin accordait à la figure d'Oviri dont il avait réalisé la sculpture en céramique, se manifeste d'ailleurs particulièrement dans la lettre qu'il écrit à Daniel de Monfreid en octobre 1890 et dans laquelle il exprime le souhait d'avoir une sculpture d'Oviri placée sur sa tombe dans le Pacifique, ce qui sera fait en mars 1973.
Gauguin identified with Oviri, the savage; a brute who crushes a wolf under his feet and strangles a wolf-cub under his arm. His face, almost mummified, evokes the destruction of modern man that Gauguin felt necessary for artistic regeneration. The importance of this figure for the artist manifested itself most clearly in the letter he wrote to Daniel de Montfreid in October 1890 in which he expressed his wish to have this work placed on his tombstone, if ever it was cast in a more durable material, which was indeed carried out in March 1973.
Gauguin identified with Oviri, the savage; a brute who crushes a wolf under his feet and strangles a wolf-cub under his arm. His face, almost mummified, evokes the destruction of modern man that Gauguin felt necessary for artistic regeneration. The importance of this figure for the artist manifested itself most clearly in the letter he wrote to Daniel de Montfreid in October 1890 in which he expressed his wish to have this work placed on his tombstone, if ever it was cast in a more durable material, which was indeed carried out in March 1973.