oung woman's emerging sexuality which can be observed by those in the distance but not entirely blocked.
In The Yellow Christ (1889) Gauguin reinforces this theme by grouping a cluster of three women appearing anachronistically in Breton regional dress. Again Gauguin seems to be emphasizing that the sacred must be grasped within its immediacy. The Breton women of Gauguin's day must be able to see Christ dying upon the cross for themselves. In choosing to paint Christ within a vivid yellow, it is as if Gauguin is portraying him as a non-white, as an individual who transcends all the races. The use of brilliant yellow also seems to align the suffering Christ dying upon the cross with the resurrection, with the golden hue to be associated with his triumph over death.
While recovering from illness and residing at St. Remy, Van Gogh produced The Resurrection of Lazarus (1890) (Graetz, 1963, p. 235). Van Gogh produced this fragment after an etching by Rembrandt (Graetz, 1963, p. 231). Similar to Gauguin, Van Gogh has chosen to present this bib
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