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whose brief life ended in an untimely death from underlying tuberculosis. He was a colleague and contemporary of two other post-Impressionists: Vincent van Gogh (1853–1890) and Paul Gauguin (1848–1903). In part because of misattribution, Laval’s work has receded into a historical footnote to the career of Gauguin, whose output far exceeded that of Laval. Gauguin, among the most renowned of the late 19th century European artists, was a pioneer of the Synthetist school of painting. This post-Impressionist movement encouraged artists to depict their emotions about the subject, beyond its outward appearance, with bold displays of color, relaxation of exactitude, and portrayal of form based on memory. Laval studied under realist painter Léon Bonnat at the École des Beaux-Arts in Paris. In the summer of 1886, he became acquainted with van Gogh and Gauguin at Pont-Aven, a growing artist colony in Brittany. In April 1887, Laval and Gauguin set sail for Panama, an adventure that was ostensibly pursued for employment at the invitation of Gauguin’s brother-in-law, a Chilean with business interests in Panama. In June 1887, after several misadventures, Laval and Gauguin left Panama for Martinique, where they painted together before returning to France in November of the same year. The emergence of Laval’s eccentric, flamboyant style coincided with Gauguin’s. The astonishing similarity of their works from that period has led art historians to conclude that a few of Laval’s paintings were incorrectly attributed to Gauguin, whose signature was added later to inflate market value. Femmes et Chevre dans le Village (Women and Goat in the Village), presented on the next page, was undertaken in Martinique and bears a Gauguin signature but has been attributed by some to Laval. The ascendance of Gauguin’s legacy and the neglect of Laval’s, in the context of their matching styles, could tempt us to surmise that Laval imitated Gauguin, but their paintings and their life stories leave open the possibility that their visions converged as they influenced each other. Only Laval’s early death deprived him, and us, of his potential for greater recognition. During the brief sojourn in Martinique, Gauguin wrote to a painter friend back in Paris, Émile Schuffenecker, that he would be returning with a dozen of his own works, presumably to sell. However, in the various editions of the definitive Gauguin catalogue raisonné, a total of 18 works has been attributed to him from Martinique. The leading explanation for the surfeit of Gauguinattributed works relative to the number that he reported to Schuffenecker is that some of these works may be those of Laval or other painters. Only six original remaining paintings are signed by and

Confusion in the Genesis of Art and Disease: Charles Laval, Paul Gauguin, and Tuberculosis