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Gauguin, Linguistic Opacity, and Cultural Difference

Paul Gauguin’s Four Breton Women (fig. 1), painted on his first visit to Brittany in 1886, may be interpreted as a painting concerned with the issue of linguistic otherness and opacity. It may be read as an attempt by Gauguin (1848–1903) to express a sense of linguistic exclusion from the remote Breton-speaking community in which he found himself in the village of Pont-Aven, or as specifying a sense of the otherness or autonomy of Breton culture (also conveyed by the distinctive costumes the women are shown as wearing). The women are clearly depicted as gathered in conversation—no activity of labor is taking place—and form an enclosed circle which excludes the spectator. We are not linked in