Closeness to Nature
Jacoulet’s focus on paradisal leisure and adornments evoke this theme of his subjects’ proximity to nature as a sign of “primitiveness”: primitive ways that inferred a natural progression to civilization through colonization. Between his watercolors and prints his subjects shift back and forth between melancholy and mischief as Jacoulet interprets their collective shift into “civilization” at the time of Japanese colonization. Overall Jacoulet provides a snapshot of Western understanding of the Pacific Islanders in the 20th century and how his art contributed to the sentiment of disappeared communities.
Contents of this path:
This page references:
- VENDEUSE DE MANGUES. MARIANES (MANGO SELLER)
- UNE JEUNE FILLE DE FIDJI, OCEANIE (A YOUNG FIJI GIRL. OCEANIA)
- BELLE DE YAP ET ORCHIDEES, QUEST CAROLINE (Yap Beauty and Orchards, West Carolines)
- JEUNE FILLE DE JALUIT, MARSHALLS (Young Girl of Jaluit. Marshalls)
- PREMIER AMOUR. YAP, QUEST CAROLINES
- LE SCULPTEUR DE TOKOBUEI. MERS DU SUD (THE TOKOBUEI SCULPTOR. SOUTH SEAS)
- LA TRESSEUSE DE PANIERS. ROMOUE, YAP (The Basket Weaver)
- LE BETEL, YAP (The Betel Nut Boy, Yap)
- YAGOUROUGH ET MIO, YAP, QUEST CAROLINES (YAGOUROUGH AND MIO, YAP, WEST CAROLINES)
- UN HOMME DE YAP. QUEST CAROLINES (A YAP MAN. WEST CAROLINES)
- CHAGRIN D’AMOUR. KUASIE, EST CAROLINES (SORROWS OF LOVE)