Family history and early life (1803–1844), in 1838 Gauguin was born in Paris to Clovis Gauguin and Aline Chazal on 7 June 1848, the year of
revolutionary upheavals throughout Europe. His father, a 34-year-old liberal journalist from a family of entrepreneurs in Orléans, was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguin's mother was the 22-year-old daughter of André Chazal, an engraver, and
Flora Tristan, an author and activist in early socialist movements. Their union ended when André shot his wife Flora and was sentenced to prison for attempted murder. Paul Gauguin's maternal grandmother, Flora Tristan, was the illegitimate daughter of Thérèse Laisnay and Don Mariano de Tristan Moscoso. Details of Thérèse's family background are not known; Don Mariano came from an aristocratic
Spanish family from the
Peruvian city of
Arequipa. He was an officer of the
Dragoons. Members of the wealthy
Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Mariano's unexpected death plunged his mistress and daughter Flora into poverty. When Flora's marriage with André failed, she petitioned for and obtained a small monetary settlement from her father's Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune. This never materialized; but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguin's maternal grandmother helped to lay the foundations for the 1848 revolutionary movements. Placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul "idolized his grandmother, and kept copies of her books with him to the end of his life". In 1850, Clovis Gauguin departed for Peru with his wife Aline and young children in hopes of continuing his journalistic career under the auspices of his wife's South American relations. He died of a heart attack en route, and Aline arrived in Peru as a widow with the 18-month-old Paul and his 2 year-old sister, Marie. Gauguin's mother was welcomed by her paternal granduncle, whose son-in-law,
José Rufino Echenique, would shortly assume the presidency of Peru. To the age of six, Paul enjoyed a privileged upbringing, attended by nursemaids and servants. He retained a vivid memory of that period of his childhood which instilled "indelible impressions of Peru that haunted him the rest of his life". Gauguin's idyllic childhood ended abruptly when his family mentors fell from political power during
Peruvian civil conflicts in 1854. Aline returned to France with her children, leaving Paul with his paternal grandfather, Guillaume Gauguin, in Orléans. Deprived by the Peruvian Tristan Moscoso clan of a generous annuity arranged by her granduncle, Aline settled in Paris to work as a dressmaker.
Education and first job After attending a couple of local schools, Gauguin was sent to the prestigious Catholic boarding school Petit Séminaire de
La Chapelle-Saint-Mesmin. He spent three years at the school. At the age of 14, he entered the Loriol Institute in Paris, a naval preparatory school, before returning to Orléans to take his final year at the Lycée Jeanne D'Arc. Gauguin signed on as a
pilot's assistant in the
merchant marine. Three years later, he joined the French navy, in which he served for two years. His mother died on 7 July 1867, but he did not learn of it for several months until a letter from his sister Marie caught up with him in India. In 1871, Gauguin returned to Paris where he secured a job as a stockbroker. A close family friend,
Gustave Arosa, got him a job at the
Paris Bourse; Gauguin was 23. He became a successful Parisian businessman and remained one for the next 11 years. In 1879 he was earning 30,000
francs a year (about $145,000 in 2019 US dollars) as a stockbroker, and as much again in his dealings in the art market. But in 1882
the Paris stock market crashed and the art market contracted. Gauguin's earnings deteriorated sharply and he eventually decided to pursue painting full-time.
Marriage , Denmark, 1885 In 1873, he married a
Danish woman, Mette-Sophie Gad (1850–1920). Over the next ten years, they had five children: Émile (1874–1955); Aline (1877–1897); Clovis (1879–1900);
Jean René (1881–1961); and
Paul Rollon (1883–1961). By 1884, Gauguin had moved with his family to
Copenhagen, Denmark, where he pursued a business career as a
tarpaulin salesman. It was not a success; he could not speak Danish, and the Danes did not want French tarpaulins. Mette became the chief breadwinner, giving French lessons to trainee diplomats. His middle-class family and marriage fell apart after 11 years when Gauguin was driven to paint full-time. He returned to Paris in 1885, after his wife and her family asked him to leave because he had renounced the values they shared. Gauguin's last physical contact with them was in 1891, and Mette eventually broke with him decisively in 1894.
First paintings '', 1880,
Ny Carlsberg Glyptotek In 1873, around the time he became a stockbroker, Gauguin began painting in his free time. His Parisian life centered on the
9th arrondissement of Paris. Gauguin lived at 15, rue la Bruyère. Nearby were the cafés frequented by the Impressionists. Gauguin also visited galleries frequently and purchased work by emerging artists. He formed a friendship with
Camille Pissarro The following two summers, he painted with Pissarro and occasionally
Paul Cézanne. In October 1883, he wrote to Pissarro saying that he had decided to make his living from painting at all costs and asked for his help, which Pissarro at first readily provided. The following January, Gauguin moved with his family to
Rouen, where they could live more cheaply and where he thought he had discerned opportunities when visiting Pissarro there the previous summer. However, the venture proved unsuccessful, and by the end of the year Mette and the children moved to
Copenhagen; Gauguin followed shortly afterward in November 1884, bringing with him his art collection, which subsequently remained in Copenhagen. Life in Copenhagen proved equally difficult, and their marriage grew strained. At Mette's urging, supported by her family, Gauguin returned to Paris the following year. File:Paul Gauguin 064.jpg|
The Market Gardens of Vaugirard, 1879,
Smith College Museum of Art File:Paul Gauguin 059.jpg|
Winter Landscape, 1879,
Museum of Fine Arts, Budapest File:Paul Gauguin, 1880, The Embroiderer (La Brodeuse), oil on canvas, 116 x 81 cm, Foundation E.G. Bührle.jpg|
Portrait of Madame Gauguin, c. 1880–81,
Foundation E.G. Bührle, Zürich File:Paul Gauguin 060.jpg|
Garden in Vaugirard (Painter's Family in the Garden in Rue Carcel), 1881,
Ny Carlsberg Glyptotek, Copenhagen
France 1885–1886 Women'', 1886,
Neue Pinakothek, Munich After a brief period in Italy, spent in the small towns of San Salvo and Ururi, Gauguin returned to Paris in June 1885, accompanied by his six-year-old son Clovis. The other children remained with Mette in Copenhagen, where they had the support of family and friends while Mette herself was able to get work as a translator and French teacher. Gauguin initially found it difficult to re-enter the art world in Paris and spent his first winter back in real poverty, obliged to take a series of menial jobs. Clovis eventually fell ill and was sent to a boarding school, Gauguin's sister Marie providing the funds. During this first year, Gauguin produced very little art. He exhibited 19 paintings and a wood relief at the eighth (and last) Impressionist exhibition in May 1886. Most of these paintings were earlier work from Rouen or Copenhagen and there was nothing really novel in the few new ones, although his
Baigneuses à Dieppe ("Women Bathing") introduced what was to become a recurring motif, the woman in the waves. Nevertheless,
Félix Bracquemond did purchase one of his paintings. This exhibition also established
Georges Seurat as leader of the
avant-garde movement in Paris. Gauguin contemptuously rejected Seurat's
Neo-Impressionist Pointillist technique and later in the year broke decisively with Pissarro, who from that point on was rather antagonistic towards Gauguin. Gauguin spent the summer of 1886 in the artist's colony of
Pont-Aven in Brittany. He was attracted in the first place because it was cheap to live there. However, he found himself an unexpected success with the young art students who flocked there in the summer. His naturally pugilistic temperament (he was both an accomplished boxer and fencer) was no impediment in the socially relaxed seaside resort. He was remembered during that period as much for his outlandish appearance as for his art. Amongst these new associates was
Charles Laval, who would accompany Gauguin the following year to
Panama and
Martinique. That summer, he executed some pastel drawings of nude figures in the manner of Pissarro and those by Degas exhibited at the 1886 eighth Impressionist exhibition. He mainly painted landscapes such as
La Bergère Bretonne ("The Breton Shepherdess"), in which the figure plays a subordinate role. His
Jeunes Bretons au bain ("Young Breton Boys Bathing"), introducing a theme he returned to each time he visited Pont-Aven, is clearly indebted to Degas in its design and bold use of pure colour. The naive drawings of the English illustrator
Randolph Caldecott, used to illustrate a popular guide-book on Brittany, had caught the imagination of the
avant-garde student artists at Pont-Aven, anxious to free themselves from the conservatism of their academies, and Gauguin consciously imitated them in his sketches of Breton girls. These sketches were later worked up into paintings back in his Paris studio. The most important of these is
Four Breton Women, which shows a marked departure from his earlier Impressionist style as well as incorporating something of the naive quality of Caldecott's illustration, exaggerating features to the point of caricature. Gauguin, along with
Émile Bernard, Charles Laval, Émile Schuffenecker and many others, re-visited
Pont-Aven after his travels in Panama and Martinique. The bold use of pure colour and
Symbolist choice of subject matter distinguish what is now called the
Pont-Aven School. Disappointed with
Impressionism, Gauguin felt that traditional European painting had become too imitative and lacked symbolic depth. By contrast, the art of Africa and Asia seemed to him full of mystic symbolism and vigour. There was a vogue in Europe at the time for the art of other cultures, especially that of Japan (
Japonism). He was invited to participate in the
1889 exhibition organized by
Les XX. File:Gauguin Women Bathing.jpg|
Women Bathing, 1885,
National Museum of Western Art, Tokyo File:Paul Gauguin - La bergère bretonne.jpg|
La Bergère Bretonne, 1886,
Laing Art Gallery File:Gauguin - Bretonne.jpg|
Breton Girl, 1886,
Burrell Collection, Glasgow File:Paul Gauguin, 1886-87, Breton Bather, Art Institute of Chicago.jpg|
Breton Bather, 1886–87,
Art Institute of Chicago Cloisonnism and synthetism and
Synthetist Group, at Café des Arts, known as
The Volpini Exhibition, 1889 Under the influence of
folk art and
Japanese prints, Gauguin's work evolved towards
Cloisonnism, a style given its name by the critic
Édouard Dujardin to describe
Émile Bernard's method of painting with flat areas of colour and bold outlines, which reminded Dujardin of the Medieval
cloisonné enameling technique. Gauguin was very appreciative of Bernard's art and of his daring with the employment of a style which suited Gauguin in his quest to express the essence of the objects in his art. In Gauguin's
The Yellow Christ (1889), often cited as a quintessential Cloisonnist work, the image was reduced to areas of pure colour separated by heavy black outlines. In such works Gauguin paid little attention to classical perspective and boldly eliminated subtle gradations of colour, thereby dispensing with the two most characteristic principles of post-
Renaissance painting. His painting later evolved towards
Synthetism in which neither form nor colour predominate but each has an equal role. File:Paul Gauguin - The Yellow Christ (Le Christ jaune) 1889.jpg|
The Yellow Christ (Le Christ jaune), 1889,
Albright–Knox Art Gallery, Buffalo, NY File:Gauguin, Paul - Still Life with Profile of Laval - Google Art Project.jpg|
Still Life with Profile of Laval (
Charles Laval), 1886,
Indianapolis Museum of Art Panama Canal In 1887, Gauguin left France along with his friend, another young painter,
Charles Laval. His dream was to purchase land of his own on the small Panamanian island of
Taboga, where he stated he desired to live "on fish and fruit and for nothing... without anxiety for the day or for the morrow." By the time he reached the port city of
Colón, Gauguin was out of money and found work as a laborer on the French construction of the
Panama Canal. During this time, Gauguin penned letters to his wife, Mette, lamenting the arduous conditions: "I have to dig... from five-thirty in the morning to six in the evening, under the tropical sun and rain," he wrote. "At night I am devoured by mosquitoes." Meanwhile, Laval had been earning money by drawing portraits of canal officials, work which Gauguin detested since only portraits done in a lewd manner would sell. Gauguin held a profound contempt for Panama, and at one point was arrested in Panama City for urinating in public. Marched across town at gunpoint, Gauguin was ordered to pay a fine of four francs. After discovering that land on Taboga was priced far beyond reach (and after falling deathly ill on the island where he was subsequently interned in a yellow fever and malaria sanatorium), he decided to leave Panama. At the time, France had a policy of
repatriation where if a citizen became broke or stranded on a French colony, the state would pay for the boat ride back. Upon leaving Panama, protected by the repatriation policy, Gauguin and Laval decided to disembark at the Martinique port of St. Pierre. Scholars disagree on whether Gauguin intentionally or spontaneously decided to stay on the island. At first, the 'negro hut' in which they lived suited him, and he enjoyed watching people in their daily activities. However, the weather in the summer was hot and the hut leaked in the rain. Gauguin also suffered
dysentery and
marsh fever. While in Martinique, he produced between 10 and 20 works (12 being the most common estimate), traveled widely and apparently came into contact with a small community of
Indian immigrants; a contact that would later influence his art through the incorporation of Indian symbols. During his stay, the writer
Lafcadio Hearn was also on the island. His account provides an historical comparison to accompany Gauguin's images. Gauguin finished 11 known paintings during his stay in Martinique, many of which seem to be derived from his hut. His letters to Schuffenecker express an excitement about the exotic location and natives represented in his paintings. Gauguin asserted that four of his paintings on the island were better than the rest. The works as a whole are brightly coloured, loosely painted, outdoor figural scenes. Even though his time on the island was short, it surely was influential. He recycled some of his figures and sketches in later paintings, such as the motif in
Among the Mangoes, which is replicated on his fans. Rural and indigenous populations remained a popular subject in Gauguin's work after he left the island. File:Gauguin Huttes sous les arbres.jpg|
Huttes sous les arbres, 1887,
Private collection, Washington File:Paul Gauguin 089.jpg|
Bord de Mer II, 1887, Private collection, Paris File:At The Pond.jpg|
At the Pond, 1887,
Van Gogh Museum, Amsterdam File:Gauguin Conversation Tropiques.jpg|
Conversation Tropiques (Négresses Causant), 1887, Private collection, Dallas File:Paul Gauguin 087.jpg|
Among the Mangoes (La Cueillette des Fruits), 1887,
Van Gogh Museum, Amsterdam In 1888, at Theo's instigation, Gauguin and Vincent spent nine weeks painting together at Vincent's
Yellow House in
Arles in the South of France. Gauguin's relationship with Vincent proved fraught. Their relationship deteriorated and eventually Gauguin decided to leave. On the evening of 23 December 1888, according to a much later account of Gauguin's, Vincent confronted Gauguin with a
straight razor. Later the same evening, he cut off his own left ear. He wrapped the severed tissue in newspaper and handed it to a woman who worked at a
brothel Gauguin and Vincent had both visited, and asked her to "keep this object carefully, in remembrance of me". Vincent was
hospitalized the following day and Gauguin left Arles. They never saw each other again, but they continued to correspond, and in 1890 Gauguin went so far as to propose they form an artist studio in
Antwerp. An 1889 sculptural self-portrait
Jug in the Form of a Head appears to reference Gauguin's traumatic relationship with Vincent. Gauguin later claimed to have been instrumental in influencing Vincent van Gogh's development as a painter at Arles. While Vincent did briefly experiment with Gauguin's theory of "painting from the imagination" in paintings such as
Memory of the Garden at Etten, it did not suit him and he quickly returned to painting from nature. Gauguin's Durand-Ruel exhibition in November 1893, which Degas chiefly organized, received mixed reviews. Among the mocking were
Claude Monet,
Pierre-Auguste Renoir and former friend Pissarro. Degas, however, praised his work, purchasing '''' and admiring the exotic sumptuousness of Gauguin's conjured folklore. In appreciation, Gauguin presented Degas with
The Moon and the Earth, one of the exhibited paintings that had attracted the most hostile criticism.
First visit to Tahiti By 1890, Gauguin had conceived the project of making
Tahiti his next artistic destination. A successful auction of paintings in Paris at the
Hôtel Drouot in February 1891, along with other events such as a banquet and a benefit concert, provided the necessary funds. The auction had been greatly helped by a flattering review from
Octave Mirbeau, courted by Gauguin through
Camille Pissarro. After visiting his wife and children in Copenhagen, for what turned out to be the last time, Gauguin set sail for Tahiti on 1 April 1891, promising to return a rich man and make a fresh start. His avowed intent was to escape European civilization and "everything that is artificial and conventional". Nevertheless, he took care to take with him a collection of visual stimuli in the form of photographs, drawings and prints. He spent the first three months in
Papeete, the capital of the colony and already much influenced by French and European culture. His biographer Belinda Thomson observes that he must have been disappointed in his vision of a primitive idyll. He was unable to afford the pleasure-seeking life-style in Papeete, and an early attempt at a portrait,
Suzanne Bambridge, was not well liked. He decided to set up his studio in Mataiea,
Papeari, some from Papeete, installing himself in a native-style bamboo hut. Here he executed paintings depicting Tahitian life such as
Fatata te Miti (By the Sea) and
Ia Orana Maria (Ave Maria), the latter to become his most prized Tahitian painting. Many of his finest paintings date from this period. His first portrait of a Tahitian model is thought to be
Vahine no te tiare (
Woman with a Flower). The painting is notable for the care with which it delineates
Polynesian features. He sent the painting to his patron
George-Daniel de Monfreid, a friend of Schuffenecker, who was to become Gauguin's devoted champion in Tahiti. By late summer 1892 this painting was being displayed at Goupil's gallery in Paris. Art historian
Nancy Mowll Mathews believes that Gauguin's encounter with exotic sensuality in Tahiti, so evident in the painting, was by far the most important aspect of his sojourn there. He often rendered titles of his works in
Tahitian, although some of these titles were misconjugated to a point where they were hard to understand by native Tahitian speakers themselves. Gauguin was lent copies of 1837
Voyage aux îles du Grand Océan and 1855 ''État de la société tahitienne à l'arrivée des Européens'', containing full accounts of Tahiti's forgotten culture and religion. Gauguin was fascinated by the accounts of
Arioi society and their god
'Oro. Because these accounts contained no illustrations and the Tahitian models had in any case long disappeared, he could give free rein to his imagination. He executed some twenty paintings and a dozen woodcarvings over the next year. The first of these was
Te aa no areois (The Seed of the Areoi), representing Oro's terrestrial wife Vairaumati, now held by the
Metropolitan Museum of Art. His illustrated notebook of the time,
, is preserved in the Louvre and was published in facsimile form in 1951. In all, Gauguin sent nine of his paintings to Monfreid in Paris. These were eventually exhibited in Copenhagen in a joint exhibition with the late Vincent van Gogh. Reports that they had been well received (though in fact only two of the Tahitian paintings were sold and his earlier paintings were unfavourably compared with van Gogh's) were sufficiently encouraging for Gauguin to contemplate returning with some seventy others he had completed. He had in any case largely run out of funds, depending on a state grant for a free passage home. In addition he had some health problems diagnosed as heart problems by the local doctor, which Mathews suggests may have been the early signs of
cardiovascular syphilis. Gauguin later wrote a travelogue (first published 1901) titled ''
, originally conceived as commentary on his paintings and describing his experiences in Tahiti. Modern critics have suggested that the contents of the book were in part fantasized and plagiarized. In it he revealed that he had at this time taken a 13-year-old girl as native wife or vahine'' (the
Tahitian word for "woman"), a marriage contracted in the course of a single afternoon. This was
Teha'amana, called Tehura in the travelogue, who was pregnant by him by the end of summer 1892. Teha'amana was the subject of several of Gauguin's paintings, including
Merahi metua no Tehamana and the celebrated
Spirit of the Dead Watching, as well as a notable woodcarving
Tehura now in the
Musée d'Orsay. By the end of July 1893, Gauguin had decided to leave Tahiti and he would never see Teha'amana or their child again even after returning to the island several years later. A digital catalogue raisonné of the paintings from this period was released by the Wildenstein Plattner Institute in 2021. File:Gauguin - Die Gesandten der Oro.jpg|Page from Gauguin's notebook (date unknown),
Ancien Culte Mahorie.
Louvre File:Paul Gauguin - Te aa no areois - Google Art Project.jpg|
Te aa no areois (The Seed of the Areoi), 1892,
Museum of Modern Art File:Paul Gauguin- Manao tupapau (The Spirit of the Dead Keep Watch).JPG|
Spirit of the Dead Watching 1892,
Albright–Knox Art Gallery,
Buffalo, NY File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg|''Tehura (Teha'amana)'', 1891–3, polychromed pua wood,
Musée d'Orsay, Paris
Return to France at
Alphonse Mucha's studio at rue de la Grande-Chaumière, Paris (Mucha photo) '', partially glazed stoneware, 75 x 19 x 27 cm,
Musée d'Orsay, Paris. "The theme of
Oviri is death, savagery, wildness. Oviri stands over a dead she-wolf, while crushing the life out of her cub." Perhaps, as Gauguin wrote to
Odilon Redon, it is a matter of "not death in life but life in death". '' (Day of the God), 1894 In August 1893, Gauguin returned to France, where he continued to execute paintings on Tahitian subjects such as
Mahana no atua (Day of the God) and
Nave nave moe (Sacred spring, sweet dreams). An exhibition at the
Durand-Ruel gallery in November 1894 was a moderate success, selling at quite elevated prices 11 of the 40 paintings exhibited. He set up an apartment at 6 rue Vercingétorix, on the edge of the
Montparnasse district frequented by artists, and began to conduct a weekly
salon. He affected an exotic
persona, dressing in Polynesian costume, and conducted a public affair with a young woman still in her teens, "half Indian, half Malayan", known as . Despite the moderate success of his November exhibition, he subsequently lost Durand-Ruel's patronage in circumstances that are not clear. Mathews characterises this as a tragedy for Gauguin's career. Amongst other things he lost the chance of an introduction to the American market. The start of 1894 found him preparing woodcuts using an experimental technique for his proposed travelogue
Noa Noa. He returned to Pont-Aven for the summer. In February 1895 he attempted an auction of his paintings at Hôtel Drouot in Paris, similar to the one of 1891, but this was not a success. The dealer
Ambroise Vollard, however, showed his paintings at his gallery in March 1895, but they did not come to terms at that date. He submitted a large ceramic sculpture he called
Oviri he had fired the previous winter to the
Société Nationale des Beaux-Arts 1895
salon opening in April. In any case, Gauguin took the opportunity to increase his public exposure by writing an outraged letter on the state of modern ceramics to
Le Soir. By this time it had become clear that he and his wife Mette were irrevocably separated. Although there had been hopes of a reconciliation, they had quickly quarrelled over money matters and neither visited the other. Gauguin initially refused to share any part of a 13,000-franc inheritance from his uncle Isidore which he had come into shortly after returning. Mette was eventually gifted 1,500 francs, but she was outraged and from that point on kept in contact with him only through Schuffeneckerdoubly galling for Gauguin, as his friend thus knew the true extent of his betrayal. By mid 1895 attempts to raise funds for Gauguin's return to Tahiti had failed, and he began accepting charity from friends. In June 1895
Eugène Carrière arranged a cheap passage back to Tahiti, and Gauguin never saw Europe again. File:Gauguin, Paul - Sacred Spring, Sweet Dreams (Nave nave moe).jpg|
Nave nave moe (Sacred spring, sweet dreams), 1894,
Hermitage Museum File:Paul Gauguin 004.jpg|
Annah the Javanese, (1893),
Private collection File:Annah la Javanaise by Mucha.jpg|Paul Gauguin,
Alfons Mucha,
Luděk Marold, and Annah the Javanese at Mucha's studio, 1893 File:Paul Gauguin - Nave Nave Fenua from the Noa Noa Series - Google Art Project.jpg|
Nave Nave Fenua (Delightful Land), woodcut in
Noa Noa series, 1894,
Art Gallery of Ontario Residence in Tahiti . Note the sculpture of a nude woman. Gauguin set out for Tahiti again on 28 June 1895. His return is characterised by Thomson as an essentially negative one, his disillusionment with the Paris art scene compounded by two attacks on him in the same issue of
Mercure de France; one by
Emile Bernard, the other by
Camille Mauclair. Mathews remarks that his isolation in Paris had become so bitter that he had no choice but to try to reclaim his place in Tahiti society. He arrived in September 1895 and was to spend the next six years living, for the most part, an apparently comfortable life as an artist-
colon near, or at times in, Papeete. During this time he was able to support himself with an increasingly steady stream of sales and the support of friends and well-wishers, though there was a period of time 1898–1899 when he felt compelled to take a desk job in Papeete, of which there is not much record. He built a spacious reed and thatch house at
Puna'auia in an affluent area ten miles east of Papeete, settled by wealthy families, in which he installed a large studio, sparing no expense. Jules Agostini, an acquaintance of Gauguin's and an accomplished amateur photographer, photographed the house in 1896. Later a sale of land obliged him to build a new one in the same neighbourhood. He maintained a
horse and trap, so was in a position to travel daily to Papeete to participate in the social life of the colony should he wish. He subscribed to the
Mercure de France (indeed was a shareholder), by then France's foremost critical journal, and kept up an active correspondence with fellow artists, dealers, critics, and patrons in Paris. During his year in Papeete and thereafter, he played an increasing role in local politics, contributing abrasively to a local journal opposed to the colonial government,
Les Guêpes (The Wasps), that had recently been formed, and eventually edited his own monthly publication
Le Sourire: Journal sérieux (The Smile: A Serious Newspaper), later titled simply
Journal méchant (A Wicked Newspaper). A certain amount of artwork and woodcuts from his newspaper survive. In February 1900 he became the editor of
Les Guêpes itself, for which he drew a salary, and he continued as editor until he left Tahiti in September 1901. The paper under his editorship was noted for its scurrilous attacks on the governor and officialdom in general, but was not in fact a champion of native causes, although perceived as such nevertheless. For the first year at least he produced no paintings, informing Monfreid that he proposed henceforth to concentrate on sculpture. Few of his wooden carvings from this period survive, most of them collected by Monfreid. Thomson cites
Oyez Hui Iesu (Christ on the Cross), a wooden cylinder half a metre (20") tall featuring a curious hybrid of religious motifs. The cylinder may have been inspired by similar symbolic carvings in Brittany, such as at
Pleumeur-Bodou, where ancient menhirs have been Christianised by local craftsmen. When he resumed painting, it was to continue his long-standing series of sexually charged nudes in paintings such as
Te tamari no atua (Son of God) and
O Taiti (Nevermore). Thomson observes a progression in complexity. Mathews notes a return to Christian symbolism that would have endeared him to the colonists of the time, now anxious to preserve what was left of native culture by stressing the universality of religious principles. In these paintings, Gauguin was addressing an audience amongst his fellow colonists in Papeete, not his former
avant-garde audience in Paris. His health took a decided turn for the worse and he was hospitalised several times for a variety of ailments. While he was in France, he had his ankle shattered in a drunken brawl on a seaside visit to
Concarneau. The injury, an
open fracture, never healed properly. Then painful and debilitating sores that restricted his movement began erupting up and down his legs, and were treated with arsenic. Gauguin blamed the tropical climate and described the sores as eczema, but some biographers consider that this would have been the progress of syphilis. However, there is no direct evidence that Gauguin suffered from syphilis, and none that he infected any of his lovers, as is sometimes asserted, although he may have had
eczema and
erysipelas. '', 1897, oil on canvas, 139 × 375 cm (55 × 148 in),
Boston Museum of Fine Arts, Boston, Massachusetts In April 1897, he received word that his favorite daughter Aline had died from pneumonia. This was also the month he learned he had to vacate his house because its land had been sold. He took out a bank loan to build a much more extravagant wooden house with beautiful views of the mountains and sea. But he overextended himself in so doing, and by the end of the year faced the real prospect of his bank foreclosing on him. Failing health and pressing debts brought him to the brink of despair. At the end of the year he completed his monumental
Where Do We Come From? What Are We? Where Are We Going?, which he regarded as his masterpiece and final artistic testament (in a letter to Monfreid he explained that he tried to kill himself after finishing it). The painting was exhibited at Vollard's gallery in November the following year, along with eight thematically related paintings he had completed by July. This was his first major exhibition in Paris since his Durand-Ruel show in 1893 and it was a decided success, critics praising his new serenity.
Where do we come from?, however, received mixed reviews and Vollard had difficulty selling it. He eventually sold it in 1901 for 2,500 francs (about $10,000 in year 2000 US dollars) to , of which Vollard's commission was perhaps as much as 500 francs. Georges Chaudet, Gauguin's Paris dealer, died in the fall of 1899. Vollard had been buying Gauguin's paintings through Chaudet and now made an agreement with Gauguin directly. The agreement provided Gauguin a regular monthly advance of 300 francs against a guaranteed purchase of at least 25 unseen paintings a year at 200 francs each, and in addition Vollard undertook to provide him with his art materials. There were some initial problems on both sides, but Gauguin was finally able to realise his long cherished plan of resettling in the
Marquesas Islands in search of a yet more
primitive society. He spent his final months in Tahiti living in considerable comfort, as attested by the liberality with which he entertained his friends at that time. Gauguin was unable to continue his work in ceramics in the islands for the simple reason that suitable clay was not available. Similarly, without access to a printing press (
Le Sourire was
hectographed), he was obliged to turn to the
monotype process in his graphic work. Surviving examples of these prints are rather rare and command very high prices in the saleroom. During this time Gauguin maintained a relationship with Pahura (Pau'ura) a Tai, the daughter of neighbours in Puna'auia. Gauguin began this relationship when Pau'ura was years old. He fathered two children with her, of which a daughter died in infancy. The other, a boy, she raised herself. His descendants still inhabited Tahiti at the time of Mathews' biography. Pahura refused to accompany Gauguin to the Marquesas away from her family in Puna'auia (earlier she had left him when he took work in Papeete just 10 miles away). When the English writer
W. Somerset Maugham visited her in 1917, she could offer him no useful memory of Gauguin and chided him for visiting her without bringing money from Gauguin's family. File:Paul Gauguin - Oyez Hui Iesu (Christ on the Cross).jpg|
Oyez Hui Iesu (Christ on the Cross), rubbing (reverse print) from an 1896 wooden cylinder,
Museum of Fine Arts, Boston File:Paul Gauguin 091.jpg|
Nevermore (O Taiti), 1897,
Courtauld Gallery, London File:Paul Gauguin, Eve (The Nightmare), 1899–1900 monotype.jpg|
Eve (The Nightmare), 1899–1900, monotype,
J. Paul Getty Museum Marquesas Islands Gauguin had nurtured his plan of settling in the Marquesas ever since seeing a collection of intricately carved Marquesan bowls and weapons in Papeete during his first months in Tahiti. However, he found a society that, as in Tahiti, had lost its cultural identity. Of all the Pacific island groups, the Marquesas were the most affected by the import of Western diseases (especially
tuberculosis). The sculpture of the bishop,
Père Paillard, is to be found at the National Gallery of Art, Washington, while its pendant piece
Thérèse realized a record $30,965,000 for a Gauguin sculpture at a Christie's New York 2015 sale. These were among at least eight sculptures that adorned the house according to a posthumous inventory, most of which are lost today. Together they represented a very public attack on the hypocrisy of the church in
sexual matters. State funding for the missionary schools had ceased as a result of the
1901 Associations Bill promulgated throughout the French empire. The schools continued with difficulty as private institutions, but these difficulties were compounded when Gauguin established that attendance at any given school was only compulsory within a catchment area of some two and a half miles radius. This led to numerous teenage daughters being withdrawn from the schools (Gauguin called this process "rescuing"). He took as
vahine one such girl, Vaeoho (also called Marie-Rose), the 14-year-old daughter of a native couple who lived in an adjoining valley six miles distant. This can scarcely have been a pleasant task for her as Gauguin's sores were by then extremely noxious and required daily dressing. Nevertheless, she lived willingly with him and the following year gave birth to a healthy daughter whose descendants continue to live on the island. By November he had settled into his new home with Vaeoho, a cook (Kahui), two other servants (nephews of Tioka), his dog, Pegau (a play on his initials
PG), and a cat. The house itself, although in the center of the town, was set amongst trees and secluded from view. The partying ceased and he began a period of productive work, sending twenty canvases to Vollard the following April. He had thought he would find new motifs in the Marquesas, writing to Monfreid: In fact, his Marquesas work for the most part can only be distinguished from his Tahiti work by experts or by their dates, paintings such as
Two Women remaining uncertain in their location. For Anna Szech, what distinguishes them is their repose and melancholy, albeit containing elements of disquiet. Thus, in the second of two versions of
Cavaliers sur la Plage (Riders on the Beach), gathering clouds and foamy breakers suggest an impending storm while the two distant figures on grey horses echo similar figures in other paintings that are taken to symbolise death. But there is a significant trio of pictures from this last period that suggest deeper concerns. The first two of these are ''Jeune fille à l'éventail (Young Girl with Fan)
and Le Sorcier d'Hiva Oa (Marquesan Man in a Red Cape)
. The model for Jeune fille
was the red-headed Tohotaua, the daughter of a chieftain on a neighbouring island. The portrait appears to have been taken from a portrait photograph of Tohotaua by Louis Grelet that Vernier later sent to Vollard. The model for Le sorcier'' may have been Haapuani, an accomplished dancer as well as a feared magician, who was a close friend of Gauguin's and, according to
Bengt Danielsson, married to Tohotau. Szech notes that the white colour of Tohotau's dress is a symbol of power and death in Polynesian culture, the sitter doing duty for a
Maohi culture as a whole threatened with extinction. The third picture of the trio is the mysterious and beautiful
Contes barbares (Primitive Tales) featuring Tohotau again at the right. The left figure is
Jacob Meyer de Haan, a painter friend of Gauguin's from their Pont-Aven days who had died a few years previously, while the middle figure is again androgynous, identified by some as Haapuani. The Buddha-like pose and the lotus blossoms suggests to Elizabeth Childs that the picture is a meditation on the perpetual cycle of life and the possibility of rebirth. For a while he considered returning to Europe, to Spain, to get treatment. Monfreid advised him: In July 1902, Vaeoho, by then seven months pregnant, left Gauguin to return home to her neighbouring valley of Hekeani to have her baby amongst family and friends. She gave birth in September but did not return. Gauguin did not subsequently take another
vahine. It was at this time that his quarrel with Bishop Martin over missionary schools reached its height. The local gendarme, Désiré Charpillet, at first friendly to Gauguin, wrote a report to the administrator of the island group, who resided on the neighbouring island of
Nuku Hiva, criticizing Gauguin for encouraging natives to withdraw their children from school as well as encouraging settlers to withhold payment of their taxes. As luck would have it, the post of administrator had recently been filled by François Picquenot, an old friend of Gauguin's from Tahiti and essentially sympathetic to him. Picquenot advised Charpillet not to take any action over the schools issue, since Gauguin had the law on his side, but authorised Charpillet to seize goods from Gauguin in lieu of payment of taxes if all else failed. Possibly prompted by loneliness, and at times unable to paint, Gauguin took to writing. In 1901, the manuscript of
Noa Noa that Gauguin had prepared along with woodcuts during his interlude in France was finally published with Morice's poems in book form in the
La Plume edition (the manuscript itself is now lodged in the Louvre museum). Sections of it (including his account of Teha'amana) had previously been published without woodcuts in 1897 in
La Revue Blanche, while he himself had published extracts in
Les Guêpes while he was editor. The
La Plume edition was planned to include his woodcuts, but he withheld permission to print them on smooth paper as the publishers wished. In truth he had grown uninterested in the venture with Morice and never saw a copy, declining an offer of one hundred complimentary copies. Nevertheless, its publication inspired him to consider writing other books. At the beginning of the year (1902), he had revised an old 1896–97 manuscript, ''L'Esprit Moderne et le Catholicisme
(The Modern Spirit and Catholicism
), on the Roman Catholic Church, adding some twenty pages containing insights gleaned from his dealings with Bishop Martin. He sent this text to Bishop Martin, who responded by sending him an illustrated history of the Church. Gauguin returned the book with critical remarks he later published in his autobiographical reminiscences. He next prepared a witty and well-documented essay, Racontars de Rapin
(Tales of a Dabbler
) on critics and art criticism, which he sent for publication to André Fontainas, art critic at the Mercure de France
whose favourable review of Where Do We Come From? What Are We? Where Are We Going?'' had done much to restore his reputation. Fontainas, however, replied that he dared not publish it. It was not subsequently published until 1951. On 27 May that year, the steamer service,
Croix du Sud, was shipwrecked off the
Apataki atoll, and for a period of three months the island was left without mail or supplies. When mail service resumed, Gauguin penned an angry attack on Governor Petit in an open letter, complaining amongst other things about the way they had been abandoned following the shipwreck. The letter was published by ''L'Indepéndant
, the successor newspaper to Les Guêpes
, that November in Papeete. Petit had in fact followed an independent and pro-native policy, to the disappointment of the Roman Catholic Party, and the newspaper was preparing an attack on him. Gauguin also sent the letter to the Mercure de France
, which published a redacted version of it after his death. He followed this with a private letter to the head of the gendarmerie'' in Papeete, complaining about his own local gendarme Charpillet's excesses in making prisoners labor for him. Danielsson notes that, while these and similar complaints were well-founded, the motivation for them all was wounded vanity and simple animosity. As it happened, the relatively supportive Charpillet was replaced that December by another gendarme, Jean-Paul Claverie, from Tahiti, much less well disposed to Gauguin and who in fact had fined him in his earliest Mataiea days for public indecency, having caught him bathing naked in a local stream following complaints from the missionaries there. His health further deteriorated in December to the extent that he was scarcely able to paint. He began an autobiographical memoir he called
Avant et après (Before and After) (published in translation in the U.S. as
Intimate Journals), which he completed over the next two months. The title referred to his experiences before and after coming to Tahiti and as tribute to his own grandmother's unpublished memoir
Past and Future. His memoir proved to be a fragmented collection of observations about life in Polynesia, his own life, and comments on literature and paintings. He included in it attacks on subjects as diverse as the local
gendarmerie, Bishop Martin, his wife Mette and the
Danes in general, and concluded with a description of his personal philosophy conceiving life as an
existential struggle to reconcile opposing binaries. Mathews notes two closing remarks as a distillation of his philosophy: He sent the manuscript to Fontainas for editing, but the rights reverted to Mette after Gauguin's death, and it was not published until 1918 (in a facsimile edition); the American translation appearing in 1921.
Death At the beginning of 1903, Gauguin engaged in a campaign designed to expose the incompetence of the island's gendarmes, in particular Jean-Paul Claverie, for taking the side of the natives directly in a case involving the alleged drunkenness of a group of them. Claverie, however, escaped censure. At the beginning of February, Gauguin wrote to the administrator, François Picquenot, alleging corruption by one of Claverie's subordinates. Picquenot investigated the allegations but could not substantiate them. Claverie responded by filing a charge against Gauguin of libeling a gendarme. He was subsequently fined 500 francs and sentenced to three months' imprisonment by the local magistrate on 27 March 1903. Gauguin immediately filed an appeal in Papeete and set about raising the funds to travel to Papeete to hear his appeal. At this time Gauguin was very weak and in great pain and resorted once again to using morphine. He died suddenly on the morning of 8 May 1903. File:Paul Gauguin 106.jpg|
Cavaliers sur la Plage [II] (Riders on the Beach), 1902,
Private collection File:Paul Gauguin - Landscape with a Pig and a Horse (Hiva Oa) - Google Art Project.jpg|
Landscape with a Pig and a Horse (Hiva Oa), 1903,
Ateneum, Helsinki File:Gauguin Nature morte aux oiseaux exotiques I.jpg|
Still life with Exotic Birds, 1902,
Pushkin Museum File:Paul Gauguin - Jeune fille à l'éventail - Folkwang G53.jpg| ''Jeune fille à l'éventail (Young Girl with a Fan)'', 1902,
Museum Folkwang File:Paul Gauguin - Contes barbares - Folkwang G54.jpg|
Contes barbares (Primitive Tales), 1902,
Museum Folkwang Earlier, he had sent for his pastor, Paul Vernier, complaining of fainting fits. They had chatted together, and Vernier had left, believing him in a stable condition. However, Gauguin's neighbour, Tioka, found him dead at 11 o'clock, confirming the fact in the traditional Marquesan way by biting his scalp in an attempt to revive him. By his bedside was an empty bottle of
laudanum, which has given rise to speculation that he was the victim of an overdose. Vernier believed he died of a heart attack. Gauguin was buried in the Catholic
Calvary Cemetery (Cimetière Calvaire),
Atuona, Hiva 'Oa, at 2 p.m. the next day. In 1973, a bronze cast of his
Oviri figure was placed on his grave, as he had indicated was his wish. Ironically, his nearest neighbor in the cemetery is Bishop Martin, his grave surmounted by a large white cross. Vernier wrote an account of Gauguin's last days and burial, reproduced in O'Brien's edition of Gauguin's letters to Monfreid. Word of Gauguin's death did not reach France (to Monfreid) until 23 August 1903. In the absence of a will, his less valuable effects were auctioned in Atuona while his letters, manuscripts, and paintings were auctioned in Papeete on 5 September 1903. Mathews notes that this speedy dispersal of his effects led to the loss of much valuable information about his later years. Thomson notes that the auction inventory of his effects (some of which were burned as pornography) revealed a life that was not as impoverished or primitive as he had liked to maintain. Mette Gauguin in due course received the proceeds of the auction, some 4,000 francs. One of the paintings auctioned in Papeete was
Maternité II, a smaller version of
Maternité I in the Hermitage Museum. The original was painted at the time his then
vahine, Pau'ura, in Puna'auia, gave birth to their son Emile. It is not known why he painted the smaller copy. It was sold for 150 francs to a French naval officer, Commandant Cochin, who said that Governor Petit himself had bid up to 135 francs for the painting. It was sold at Sotheby's for US$39,208,000 in 2004. , sold at auction in Papeete, 1903 The
Paul Gauguin Cultural Center at Atuona has a reconstruction of the
Maison du Jouir. The original house stood empty for a few years, the door still carrying Gauguin's carved lintel. This was eventually recovered, four of the five pieces held at the Musée D'Orsay and the fifth at the
Paul Gauguin Museum in Tahiti. In 2007, four rotten
molars, which may have been Gauguin's, were found by archaeologists at the bottom of a well that he built on the island of Hiva Oa, on the Marquese Islands. In 2014, forensic examination of these teeth threw into question the conventional belief that Gauguin had suffered from syphilis. DNA examination established that the teeth were almost certainly Gauguin's, but no traces were found of cadmium, mercury, or arsenic, "the standard treatment for syphilis at the time", suggesting either that Gauguin did not suffer from syphilis or that he was not being treated for it.
Children Gauguin outlived three of his children; his favorite daughter Aline died of pneumonia, his son Clovis died of a blood infection following a hip operation, and a daughter, whose birth was portrayed in Gauguin's painting of 1896
Te tamari no atua, the child of Gauguin's young Tahitian mistress, Pau'ura, died only a few days after her birth on Christmas Day 1896. His son, Émile Gauguin, worked as a construction engineer in the U.S. and is buried in Lemon Bay Historical Cemetery, in Florida. Another son,
Jean René, became a well-known sculptor and a staunch socialist. He died on 21 April 1961 in Copenhagen.
Pola (Paul Rollon) became an artist and art critic and wrote a memoir,
My Father, Paul Gauguin (1937). Gauguin had several other children by his mistresses: Germaine (born 1891) with Juliette Huais (1866–1955); Émile Marae a Tai (born 1899) with Pau'ura; and a daughter (born 1902) with Vaeoho (Marie-Rose). There is some speculation that the Belgian artist, Germaine Chardon, was Gauguin's daughter. Emile Marae a Tai,
illiterate and raised in Tahiti by Pau'ura, was brought to Chicago in 1963 by the French journalist Josette Giraud and was an artist in his own right, his descendants still living in Tahiti as of 2001. == Historical significance ==