 Calhoun (1995, 244) notes that ‘… insofar as we imagine that Gauguin, in pursuing ‘what he found his life bound up with’, acted merely on a psychologically deep impulse without critically reflecting on the value of doing so, we may suspect him of not acting with integrity’. He may have lacked personal integrity because he did not take an assessment of his values and commitments seriously enough. Calhoun (1995, 244) suggests that perhaps Gauguin believes that morality does not demand he give up partiality to his own artistic project. If this is his view, then the success of his artistic project may contribute to a favorable judgment of his moral integrity. Williams’s argument that Gauguin’s actions are given some sort of justification by the success of his artistic project is not entirely convincing. There is no reason to think that Gauguin’s project could only succeed if he turned away from the people that depend upon him, leaving them to a ‘grim’ life. Posterity may think more of him as an artist because of his work in Tahiti, but it doesn’t follow that we should think that Gauguin showed artistic integrity in taking his art to Tahiti, valuing his drive to paint in an exotic location above other commitments. Nor is it clear that being successful in Tahiti contributes to our judgment of his artistic integrity. Would our judgment of his artistic integrity have suffered had he stayed at home producing his art? Artistic integrity may come into conflict with personal and moral integrity, but it is surprisingly difficult to characterize the precise circumstances of such a conflict. Williams’s fictionalized portrait of Gauguin does not convincingly demonstrate such a conflict (and nor was it devised by Williams for such a purpose).