Focus on Spirit of the Dead Watching and analyze the Relation to Édouard Manet's Olympia.
Gauguin was an admirer of  Édouard Manet's 1863 Olympia. He had seen it exhibited at the 1889 Exposition Universelle and commented in a review, "La Belle Olympia, who once caused such a scandal, is esconced there like the pretty woman she is, and draws not a few appreciative glances". After the French state purchased Olympia from Manet's widow, with funds from a public subscription organised by Claude Monet, Gauguin took the opportunity to make a three-quarter size copy when it was exhibited in the Musée du Luxembourg. The copy is not an especially faithful one and it is thought he completed it from a photograph. Edgar Degas later purchased it for 230 francs at Gauguin's 1895 auction of his paintings to raise funds for his return to Tahiti. It is known that Gauguin took a photograph of Manet's Olympia with him on his first visit to Tahiti. Claire Frèches-Thory remarks that Olympia, the modern equivalent of Titian's Venus of Urbino, is a constant presence in Gauguin's great nudes of the South Pacific: Spirit of the Dead Watching, Te arii vahine, and Nevermore.When Gauguin exhibited Spirit of the Dead Watching at his largely unsuccessful 1893 Durand-Ruel exhibition (in particular he failed to sell Spirit at the elevated 3,000 francs he had set for it), several critics noted the compositional similarities with Olympia. Thadée Natanson, a founder of La Revue Blanche,  called it the "Olympia of Tahiti", while Alfred Jarry, more pointedly, dubbed it "the brown Olympia".
 Édouard Manet's Durand-Ruel La Revue Blanche Venus of Urbino Te arii vahine Exposition Universelle Edgar Degas Olympia Musée du Luxembourg Édouard Manet Claude Monet Nevermore Alfred Jarry