Paul Gauguin

French, 1848 - 1903

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French painter and printmaker (1848–1903)

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Five women, all with brown skin, sit and stand in a landscape painted with tones of emerald green, mauve pink, lilac and plum purple, and cobalt blue in this horizontal composition. To the right of center, a nude woman stands on a patch of violet-colored ground with both arms overhead, as she looks up. To our left, two women wearing only pale blue cloths around their waists sit side-by-side on a patch of amethyst-purple ground. Both sit with their bodies angled to our right, and they look toward the ground with their arms across their chests. To our right of the standing woman, the final pair of women stand or walk toward the right edge of the painting. The woman to our left in that pair wears a dusky rose-pink dress and a bright, coral-pink head covering. She holds one arm across her chest, elbow bent. Next to her, the fifth woman is bare-chested with a white cloth tied around her waist, covering her legs. She looks to our right and holds up her arm, which extends off the right edge of the composition. The purple patches on the ground are surrounded by other areas of raspberry pink and mauve. A band of trees and vegetation stretches across the background, leading back to cobalt-blue mountains along the horizon. Mountains to each side of the composition brush the top edge, and the shallow U of sky between them is ivory white. The artist signed and dated the painting in the lower right corner, “Paul Gauguin 1903.”
Paul Gauguin, The Invocation, 1903, oil on canvas, Gift from the Collection of John and Louise Booth in memory of their daughter Winkie, 1976.63.1

The Invocation

Paul Gauguin · 1903 · oil on canvas ·  Accession ID  1976.63.1

This stylized, free-standing, wood sculpture shows a seated man with horns, creating a column-like shape. The statue is carved from polished, reddish-brown wood. The column is divided into three sections for the head, torso, and legs. In this photograph, the man faces us. He has gold-colored eyes under arched brows, a wide nose, thin lips, and a square jaw. The horns rise from over his temples. In the middle section, he holds his hands in front of his chest, nearly touching as if in prayer. The bottom section shows his shins, knees together. His feet, which are roughly carved, turn outward. The base along the bottom is carved with words painted in gold, reading, “PERE PAILLARO.”
Paul Gauguin, Père Paillard, 1902, painted miro wood, Chester Dale Collection, 1963.10.238

Père Paillard

Paul Gauguin · 1902 · painted miro wood ·  Accession ID  1963.10.238

Paul Gauguin, Two Marquesans [recto], c. 1902, traced monotype in warm black retouched slightly with an olive pigment, Rosenwald Collection, 1964.8.1797.a

Two Marquesans [recto]

Paul Gauguin · c. 1902 · traced monotype in warm black retouched slightly with an olive pigment ·  Accession ID  1964.8.1797.a

Paul Gauguin, Two Marquesans [verso], c. 1902, pencil and crayon, Rosenwald Collection, 1964.8.1797.b

Two Marquesans [verso]

Paul Gauguin · c. 1902 · pencil and crayon ·  Accession ID  1964.8.1797.b

Paul Gauguin, The Rider, c. 1902, gouache monotype touched with gum or varnish on laid paper, Rosenwald Collection, 1947.7.60

The Rider

Paul Gauguin · c. 1902 · gouache monotype touched with gum or varnish on laid paper ·  Accession ID  1947.7.60

Paul Gauguin, Animal Studies, 1901/1902, traced monotype in black and red on thin wove paper laid down on wove paper, Rosenwald Collection, 1964.8.1794

Animal Studies

Paul Gauguin · 1901/1902 · traced monotype in black and red on thin wove paper laid down on wove paper ·  Accession ID  1964.8.1794

Paul Gauguin, Tahitian Shore [verso], c. 1900, pencil, blue pencil and (brown wash?), Rosenwald Collection, 1964.8.1795.b

Tahitian Shore [verso]

Paul Gauguin · c. 1900 · pencil, blue pencil and (brown wash?) ·  Accession ID  1964.8.1795.b

Paul Gauguin, Tahitian Shore [recto], c. 1900, traced monotype in warm black and brown on off-white wove paper, Rosenwald Collection, 1964.8.1795.a

Tahitian Shore [recto]

Paul Gauguin · c. 1900 · traced monotype in warm black and brown on off-white wove paper ·  Accession ID  1964.8.1795.a

Paul Gauguin, Two Title Pages for "Le Sourire" (Les deux titres du Sourire) [verso], 1899, boxwood woodcut block, Rosenwald Collection, 1943.3.1726.b

Two Title Pages for "Le Sourire" (Les deux titres du Sourire) [verso]

Paul Gauguin · 1899 · boxwood woodcut block ·  Accession ID  1943.3.1726.b

Paul Gauguin, Two Tahitians Gathering Fruit [recto], 1899/1900, traced monotype, printed twice, in brown and ocher on wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.41.a

Two Tahitians Gathering Fruit [recto]

Paul Gauguin · 1899/1900 · traced monotype, printed twice, in brown and ocher on wove paper ·  Accession ID  1995.47.41.a

Bibliography

0207

  • Dorra, Henri. The Symbolism of Paul Gauguin: Erotica, Exotica and the Great Dilemmas of Humanity. Berkeley and Los Angeles, 2007.

1903

  • Gauguin, Paul. Avant et après. 1903. Facs. ed. Leipzig, 1913, reprinted Copenhagen, 1951.

1906

  • Rotonchamp, Jean de [pseud. of Louis Brouillon]. Paul Gauguin 1848-1903. Weimar, 1906.

1919

  • Morice, Charles. Paul Gauguin. Paris, 1919.

1921

  • Chassé, Charles. Gauguin et le groupe de Pont-Aven. Documents inédits. Paris, 1921.

1948

  • Malingue, Maurice, ed. Gauguin's Letters to his Wife and Friends. Translated by H. Stenning. London, 1948.

  • Malingue, Maurice. Gauguin. Le Peintre et son oeuvre. Paris, 1948.

1951

  • Loize, Jean. Les Amitiés du peintre Georges-Daniel de Monfreid et ses réliques de Gauguin. Paris, 1951.

1955

  • Chassé, Charles. Gauguin et son temps. Paris, 1955.

1957

  • Goldwater, Robert. Paul Gauguin. New York, 1957.

1959

  • Malingue, Maurice. "Du nouveau sur Gauguin." L'Oeil 55-56 (July-August 1959): 32-39.

1963

  • Gray, Christopher. Sculpture and Ceramics of Paul Gauguin. Baltimore, 1963.

1964

  • Bodelsen, Merete. Gauguin's Ceramics. London, 1964.

  • Wildenstein, Georges, and Raymond Cogniat. Gauguin. 2 vols. Paris, 1964.

1966

  • Danielsson, Bengt. Gauguin in the South Seas. Garden City, New Jersey, 1966.

1971

  • Andersen, Wayne, assisted by Barbara Klein. Gauguin's Paradise Lost. New York, 1971.

1975

  • Jirat-Wasiutynski, Vojtech. Paul Gauguin in the Context of Symbolism. Ph.D. diss., Princeton, 1975. New York and London, 1978.

1983

  • Teilhet-Fiske, Jehanne. Paradise Reviewed. An Interpretation of Gauguin's Polynesian Symbolism. Ann Arbor, Michigan, 1983.

1984

  • Merlhès, Victor, ed. Correspondance de Paul Gauguin. Vol. 1 of 3 [forthcoming]. Paris, 1984-.

  • Varnedoe, Kirk. "Gauguin." In Primitivism in 20th Century Art. 2 vols. Exh. cat. Museum of Modern Art, New York, 1984: 1:179-209.

1985

  • Chemin de Gauguin: Génèse et rayonnement. Exh. cat. Musée Départemental du Prieuré, Saint-Germain-en-Laye, 1985.

1987

  • Prather, Marla, and Charles F. Stuckey, eds. Gauguin: A Retrospective. New York, 1987.

  • Thomson, Belinda. Gauguin. London, 1987.

  • Paul Gauguin. Exh. cat. National Museum of Modern Art, Tokyo; Aichi Prefectural Art Gallery. Tokyo, 1987.

1988

  • Bretell, Richard R. The Art of Paul Gauguin. Exh. cat. National Gallery of Art, Washington, D.C.; Art Institute of Chicago; Galeries Nationales du Grand Palais, Paris. Washington, D.C., 1988.

  • Gauguin, Pola. My Father, Paul Gauguin. Trans. Arthur G. Chater. New York, 1937 (new edition, 1988). Originally Paul Gauguin, Mon Père. Trans. Georges Sautreau. Paris, 1938.

1992

  • Pollock, Griselda. Avant-Garde Gambits 1888-1893: Gender and the Colour of Art History. London, 1992.

1993

  • Thomson, Belinda, ed. Gauguin by Himself. Boston, 1993.

1995

  • Sweetman, David. Paul Gauguin, A Complete Life. London, 1995.

1997

  • Eisenman, Stephen F. Gauguin's Skirt. New York, 1997.

2000

  • Butler, Ruth, and Suzanne Glover Lindsay, with Alison Luchs, Douglas Lewis, Cynthia J. Mills, and Jeffrey Weidman. European Sculpture of the Nineteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 2000: 234-236.

2001

  • Mathews, Nancy Mowll. Paul Gauguin: An Erotic Life. New Haven, 2001.

  • Wildenstein, Daniel, Sylvie Crussard, and Martine Heudron, eds. Gauguin, premier intinéraire d'un sauvage: catalogue de l'oeuvre peint (1873-1888). 2 vols. Milan and Paris, 2001.

2005

  • Bretell, Richard R., and Anne-Birgitte Fonsmark. Gauguin and Impressionism. Exh. cat. Kimbell Art Museum, Fort Worth; Ordrupgaard, Copenhagen. New Haven, 2005.

2016

  • Boyle Turner, Caroline. Gauguin & the Marquesas. Paradise Found?. Brittany, 2016.

  • Groom, Gloria, et al. Gauguin: Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago. Online scholarly catalogue. Chicago, 2016: https://publications.artic.edu/gauguin/reader/gauguinart/

2017

  • Groom, Gloria Lynn , ed. Gauguin: artist as alchemist. Exh. cat. Art Institute of Chicago; Reunion des musees nationaux Grand Palais, Paris, Chicago, 2017.

  • Van Houtven, Andrea. "The model and photographer of the Portrait of a Woman submitted to SFP in 1867 by Tessié du Motay and Maréchal." Printemps 35 (17 May 2017): https://journals.openedition.org/etudesphotographiques/3669, accessed 5 January 2018.