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Gaugin covered his pedophilia in colors more tasteful than the brashness of van Gogh or even Cezanne. Perhaps erupting in syphilitic sores made promiscuous color seem gratuitous, requiring some restraint, some decorum. A fear of wonton rashes expressing itself in total palette control. And so Gaugin's color is academic, goody two shoes, annoying.
The obvious Schutz references probably have as much to do with who is being stolen from as anything, and its nice to see things stolen.
