Saving Gaugin From ‘The Black Shamer’

The Puritanical Propagandist Missionary, Kehinde Wiley, introduced Weinstein to the beautiful Polynesian People – for his own selfish satisfaction. He USES young heterosexual Polynesian teenagers to booster his rising fame. Is he targeting young Polynesia males? President Obama has made Wylie a official ambassador, and thus MUST be severely scrutinized – AND WATCHED!

“Now, the artist — who keeps studios in Brooklyn, Beijing and Dakar, Senegal, to avoid the boredom of working in one place — is planning to take on another master. “Gauguin is one of my idols, even in the age of Weinstein,” said Mr. Wiley, referring to Harvey Weinstein, the disgraced Hollywood producer. “Gauguin is creepy, let’s just face it. He goes off into the Pacific, and he’s looking at these young girls, and the colonial gaze: It’s just really problematic.”

Still, Mr. Wiley said he wanted to go to the Pacific and “use Gauguin as a glove or a contact lens or a sleeve through which I see and experience there.”

This morning, the New Coalition of the Nine Muses introduced me to FLORA TRISTAN the grandmother of Paul Gaugin. Her family, like my own were born in the Revolutions of 1848. Flora was at the forefront of the women’s movement in Europe. She born children and a Creative Linage that the Muses bid me to protect from a black man born in Compton, who is turning the Art World – BLACK! The Muses are of Greek origin, born of the Greek God – Zeus – who favors heterosexuals over homosexuals. Like the God of the Jews, Zeus wants his people to be fruitful and multiply. Zeus was not homophobic. He chose to IGNORE fags. How about Africans?

In 1971 I and my black neighbors took the Mafia to court.

There is a Black Panther in my family tree. My grandson’s cousin was named after Malcom X. My gay friend helped smuggle gays out of Russia. I took one to the Dollar Store, and he flipped when he saw this image, that I bought for him. He looked like this actor. I compared Weinstein to Jabba the Hutt who is sliming my kindred. I hereby give Wylie the moniker ‘The Black Shamer’. I have a comic book in mind that will free all humanity from Homosexual Shaming, and Race Shaming. The world is getting better lessons – for free! You don’t have to pay the Prudish Pied Pipers for your social sins.

Besides, Robert Colescott blazed the trail that Wiley travels down, with ease, picking up all the cheese. Robert has improved upon the original images, and history. The young black boy on the bow of the boat catching a catfish, is a unwritten novel depicting how negroes were marginalized and sidelined as White Manifest Destiny does its thing – in the fast lane! The Black Buddha grew up on catfish and tatters. Sure he was tempted to have some white puntang! The BB owns a renowned sense of humor. Wiley does not.

Wiley employed a famous fashion designer to make dresses for his female subjects, one of them representing a Biblical character cutting off the head of God’s enemy. Kehinde employs this Make-Believe Inclusivess that all white people must bow down to, lest they be labeled, racist-homophobic, and politically incorrect. As an artist-writer and owner of a radical Bohemian Newspaper, like the one Flora was involved in, I am directed by THE NINE MUSES to do their bidding! I am subject to their tyranny, and not the tyranny of a black graffiti artist out of Compton. When will Wiley begin his ‘Beast’ period, where he depicts the current President as a Pussy Grabbing Sex Fiend, surrounded by Black Evangelical Women laying hands on him. They are black woman choir singers! Grab hold of some real current history Mr. Black Shamer!

Here is the Lesbian choir I filmed. They brought me to tears. They had been evicted from a Christian church down the road from where I live in Springfield. They were Shamed, Censored, and Humiliated because their sexual practices were judge an abomination. As a victim of incest I am against pedophilia. Sexual norms vary in other parts of the world. We need a World Symposium on Human Sexuality that will eliminate in-helpful guilt and shame, and put an end to devious systems that pretend to minister to a practice that doe repopulate the earth, but is engaged in BLACKMAIL. Gay couples do adopt children.

Kehinde Wiley has hinted he is on his way to capture Gauguin’s dark skinned beauties, because Van Gough’s good friend is a product of French Imperialism and Colonialism. WRONG Mr. Gay Man! I cut off that long black sleeve you tell White World you own, so that yon can slime other works of art, and scratch your Racist Homo Swastika on the history of the Pale Faces. It looks like Wylie has his dark heart set on convicting Gauguin of being a PEDOPHILE. He wants to castrate – and behead Gaugin – then sell his head on the Black Art Market. This Prig will kick the beauty we see above, out of bed, and replace her with a Naked Fag wearing Black Thug Boots.

The polinisian people are hetorsexul lovers. Here are their sexual customs. I suspect Wiley wants to introduce them to GAY PURITANICAL BLACK SHAMING in order to get heterosexual men to let down their NATURAL GUARD. Wiley is a GAY PRIG PROPGANDIST, a Vile Missionary out to get The White Man. I will warn these people  of his intention to destroy their Muses, or, put them in his Gay Black Trickster Bag that will be converted to CA$H.

Jon Presco

A young male was taught and how to please a female in order to help her attain orgasm. A young female was taught how to touch and caress a male and move her body to please them both. She was taught how to constrict and rhythmically contract her vaginal muscles.

An important element of Polynesian society was sexual humor., for sex was and remains a rich source of humor and enjoyment. In everyday conversation and in song and story, it was considered to be an art form to speak using sexual double entendres. Erotic imagery was, and remains, common in speech, poetry, and songs: coconut tree bending over a female; a digging stick spreading a females legs.

Early manifestations of infantile and childhood sexual behavior, including sexual behavior with adults, to be among the most distinguishing features of Marquesan sexual behaviour. Many of the activities described, however, are similar to activities that were present in Hawaii and elsewhere in Oceania. Adult/nonadult sexual behavior in Tahiti was common and the missionary Orsmond stated in 1832;In all Tahitians as well as officers who come in ships there is a cry for little girls, and older females, when in a position to choose, preferred younger males. On Mangaia it was routine early sexual encounters of young males and females in as being with older, experienced males and females.

Rules for Intercourse
As long as the individuals involved were of the appropriate social class, just about any type of sexual behaviour between them for was sanctioned. If a pregnancy resulted, it was welcome. If a socially inferior male had sex with a female of royalty, however, her family might demand his death or exile, and if a baby was born, it might be killed immediately. A higher class males having sex with a lower class female was seen as being good, on the other hand, in that it added to her status. However, if the two participants were too far apart in class, any offspring was killed or sent into exile. Neither physical appearance nor age mattered where coitus-for-genealogy was involved. The main concern in such instances was to preserve the highest level of mana and rank and to not dilute the family prestige if no offspring resulted, the sexual behaviour itself was considered to be inconsequential.

Tristan was the grandmother of the painter Paul Gauguin.

Her full name was Flore-Celestine-Therèse-Henriette Tristan-Moscoso. Her father, Mariano Tristán y Marquis, was a colonel of the Spanish Navy, born in Arequipa, a city of Peru. His family was one of the most powerful in the south of the country; his brother Pío de Tristán became viceroy of Peru. Flora Tristan’s mother, Anne-Pierre Laisnay, was French; the couple met in Bilbao, Spain.

When her father died in 1807, before her fifth birthday, the situation of Tristan and her mother changed drastically from the high standards of living they were accustomed to. In 1833 she travelled to his hometown to claim her paternal inheritance, which was in possession of an uncle. She remained in Peru until 16 July 1834. Though she never secured the inheritance that brought her there, Tristan wrote a travel diary about her experiences during Peru’s tumultuous post-independence period. The diary was published in 1838 as Pérégrinations d’une paria.[2]

The Workers’ Union[edit]

Tristan wrote this essay in 1843 after an extensive stay in Peru and a short trip to Britain where she produced works on the social conditions along the Channel. The Workers’ Union was the last of her writings and gave her a public persona of political activist. Through this work, one can compare Tristan to similar Utopian Socialists including Charles Fourier (whom she knew personally) and the works of the French Socialists, the Saint Simonians, whose works she had studied through the years. Tristan took into account the studies and teachings of these previous socialists, but created a different solution to the suppression of not only the proletariat, but the working women as well. She was the first to connect the freedom of the working class with the deliverance of women’s rights.


Repressed for the most part in history, women’s historiography has been gaining traction in the attempt of historians to highlight “minoritized” histories. Through her writings, Flora Tristan was able to show the ability of women to conceptualize the idea of freedom which emanated from her works.

Seeing the failure of the promises of capitalism, Flora Tristan works would entail a deep desire for social progress – combining the women struggle with socialism. When one would trace socialism going together with feminism, Flora Tristan would become the key person in this amalgamation. Flora Tristan would be known as the “mother of feminism and of popular communitarian socialism”[4],fighting the prejudice and misogyny that powers women’s oppression.

Tristan would organize the fragmented ideas of women equality at that time, brought by the French Revolution. She would provide the platform for the later rise of feminism in the late 19th century. Tristan would die “defending the rights of the proletarian or rather demanding them for him; she died whilst preaching, through her words and her actions, the law of union and love that she had brought to him”[5].

Flora Tristan would be “the first woman to try to merge the proto-feminist and social discourses into a critical synthesis, opening the way leading for the future shape of feminism of a proletarian class character, which finds it inconceivable that there exist oppressed women who are capable of oppressing other women”[6]

Gauguin was born in Paris to Clovis Gauguin and Alina Maria Chazal on June 7, 1848. His birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans.[5] He was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities.[6] Gauguin’s mother was the 22-year-old daughter of Andre Chazal, an engraver, and Flora Tristan, an author and activist in early socialist movements. Their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder.[7]

Paul Gauguin’s maternal grandmother, Flora Tristan, was the illegitimate daughter of Thérèse Laisnay and Don Mariano de Tristan Moscoso. Details of Thérèse’s family background are not known; her father, Don Mariano, was a Spanish nobleman and an officer of the Dragoons.[8] Members of the wealthy Tristan Moscoso family held powerful positions in Peru.[9] Nonetheless, Don Mariano’s unexpected death plunged his mistress and daughter Flora into poverty.[10] When Flora’s marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her father’s Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune. This never materialized; but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguin’s maternal grandmother helped to lay the foundations for the 1848 revolutionary movements. Placed under surveillance by French police and suffering from overwork, she died in 1844.[11] Her grandson Paul “idolized his grandmother, and kept copies of her books with him to the end of his life.”[12]

The Revolutions of 1848, known in some countries as the Spring of Nations, People’s Spring, Springtime of the Peoples,[3] or the Year of Revolution, were a series of political upheavals throughout Europe in 1848. It remains the most widespread revolutionary wave in European history.

The revolutions were essentially democratic and liberal in nature, with the aim of removing the old monarchical structures and creating independent national states. The first revolution began in January in Sicily[clarification needed]. Revolutions then spread across Europe after a separate revolution began in France in February. Over 50 countries were affected, but with no coordination or cooperation among their respective revolutionaries. According to Evans and von Strandmann (2000), some of the major contributing factors were widespread dissatisfaction with political leadership, demands for more participation in government and democracy, demands for freedom of press, other demands made by the working class, the upsurge of nationalism, and the regrouping of established governmental forces.[4]

Tens of thousands of people were killed, and many more forced into exile. Significant lasting reforms included the abolition of serfdom in Austria and Hungary, the end of absolute monarchy in Denmark, and the introduction of representative democracy in the Netherlands. The revolutions were most important in France, the Netherlands, the states of the German Confederation that would make up the German Empire in the late 19th and early 20th century, Italy, and the Austrian Empire.Flora Tristan (7 April 1803 in Paris – 14 November 1844 in Bordeaux, France) was a France-born Peruvian socialist writer and activist. She made important contributions to early feminist theory, and argued that the progress of women’s rights was directly related with the progress of the working class.[1] She wrote several works, the best known of which are Peregrinations of a Pariah (1838), Promenades in London (1840), and The Workers’ Union


One of the pictures of Paul Gauguin from the album owned by Daniel Blau.

Only Known Photographs of Gauguin in Tahiti Recently Unearthed

Martin Bailey of the Art Newspaper reports that photographs of Paul Gauguin in Tahiti—the only photographs known to exist of the artist during his time in Polynesia—were discovered in photo albums purchased at a country auction in France in July 2015. One was bought by Paris’s Musée du Quai Branly, and the other by Munich-based art dealer Daniel Blau. No mention of Gauguin appearing in the albums was made in the auction catalogue. Blau purchased his album for about $6,200.The photographs in the album depict the artist kissing a Tahitian woman, picnicking, and spending time with various acquaintances. A copy of a photograph purchased by Blau about ten years ago shows Gauguin posing in a group shot. A duplicate of that photo appears in his album.

Van Gogh’s ear ‘was cut off by friend Gauguin with a sword’

He is known as the tortured genius who cut off his own ear as he struggled with mental illness after the breakdown of his friendship with a fellow artist.

But a new study claims Vincent Van Gogh may have made up the story to protect painter Paul Gauguin who actually lopped it off with a sword during an argument.

Self Portrait with Bandaged Ear, 1889 by Gogh, Vincent van (1853-90)

Self Portrait with Bandaged Ear, 1889 by Vincent van Gogh (1853-90)

German art historians say the true version of events never surfaced as the two men both kept a “pact of silence” – Gauguin to avoid prosecution and Van Gogh in a vain attempt to keep a friend with whom he was hopelessly infatuated.

In Van Gogh’s Ear: Paul Gauguin and the Pact of Silence, Hans Kaufmann and Rita Wildegans claim it was the sword attack, not Van Gogh’s madness, that led him to commit suicide two years later.

The prevailing theory is that the Dutchman, who painted Sunflowers and the Potato Eaters, almost bled to death after slashing his own ear with a razor in a fit of lunacy on the night of December 23, 1888.

He is said to have wrapped it in cloth and handed it to a prostitute in a nearby brothel.

However, the new work from experts in Hamburg offers a very different version.

Gauguin, an excellent fencer, was planning to leave Van Gogh’s “Yellow House” in Arles, southwestern France, after an unhappy stay.

He had walked out of the house with his baggage and his trusty épée in hand, but was followed by the troubled Van Gogh, who had earlier thrown a glass at him.

As the pair approached a bordello, their row intensified, and Gauguin cut off Van Gogh’s left earlobe with his sword – either in anger or self-defence.

He then threw the weapon in the Rhône. Van Gogh delivered the ear to the prostitute and staggered home, where police discovered him the following day, the new account claims.

Gauguin had undoubtedly been staying with Van Gogh, but most experts think he had disappeared before the ear incident.

Although the historians provide no “smoking gun” to back up their claims, they argue theirs is the most logical interpretation, and explains why in his final recorded words to Gauguin, Van Gogh writes: “You are quiet, I will be, too”.

They cite correspondence between Vincent and his brother, Theo, in which the painter hints at what happened without directly breaking the “pact of silence” made with his estranged friend.

He mentions Gauguin’s request to recover his fencing mask and gloves from Arles, but not the épée.

Mr Kaufmann told the Daily Telegraph: “He writes that it’s lucky Gauguin doesn’t have a machine gun or other firearms, that he’s stronger than him and that his ‘passions’ are stronger.”

He makes reference to a French novel in which the narrator thinks he has killed his friend by cutting the climbing rope linking them.

“Afterwards, he says to himself: ‘nobody has seen me commit my crime, and nothing can prevent me from inventing a story which would hide the truth’,” said Mr Kaufmann. “This was a message to his brother.”

He also pointed to one of Van Gogh’s sketches of an ear, with the word “ictus” – the Latin term used in fencing to mean a hit. The authors believe that curious zigzags above the ear represent Gauguin’s Zoro-like sword-stroke.

The historians also contend that, while Van Gogh clearly suffered from seizures, he had not gone mad at this stage.

“That was propaganda and all part of Gauguin’s self-defence strategy,” said Mr Kaufmann. “But it was a shock from which Vincent never recovered, led to the aggravation of his disease and paved the way to his suicide,” he said.

Other Van Gogh experts, including those at the Van Gogh Museum in Amsterdam, disagree with the authors’ claims. However, Nina Zimmer, the curator of a major Van Gogh exhibition in Basel, was less sure: “Perhaps they’re right, but all the hypotheses are valid given the lack of material,” she told Le Figaro.

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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