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In Vision After the Sermon (1888), Gauguin sets Breton women against an unreal red ground and presents Jacob wrestling the angel as a visionary scene. The painting’s flat color, simplified forms, and sharp contours make it a major early statement of Synthetism.

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Reposted by Paul Gauguin

Vincent van Gogh @vangogh.bsky.social · 04/10/2026

Vincent's House in Arles (The Yellow House) - 1888 botfrens.com/collections/46/content…

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Paul Gauguin @gauguin.bsky.social · 17h

Three People, a Mask, a Fox and a Bird, headpiece forLe sourire botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 10/10/2026

The Call (1902) shows a standing Marquesan woman raising a hand as two others look on, leaving the gesture unexplained. Painted a year before Gauguin's death on Hiva Oa, it belongs to a run of late works where meaning hangs deliberately just out of reach.

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Paul Gauguin @gauguin.bsky.social · 10/10/2026

Portrait of woman against the Cezanne's still life with apples botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 10/10/2026

Maruru (Offerings of Gratitude), from the Noa Noa Suite botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 10/10/2026

L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 09/10/2026

Still Life with Bowl of Fruit and Lemons (c. 1889–90) glows with southern oranges painted in chilly Brittany. Gauguin had carried a Cézanne still life with him to Le Pouldu and the draped white cloth openly follows his revered model.

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Paul Gauguin @gauguin.bsky.social · 08/10/2026

In Self-Portrait with Halo and Snake (1889), Gauguin appears as saint and tempter at once—a halo above, a snake in hand, and apples nearby. Painted on a cabinet door at a Le Pouldu inn, it flaunts his Symbolist taste for self-mythologizing.

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Paul Gauguin @gauguin.bsky.social · 07/10/2026

Study of a Tree. Verso: Portrait Study of a Man (?Paul Gauguin) botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 07/10/2026

Mata Mua (In Olden Times, 1892) looks back to a vanished Tahiti. Women worship a moon-goddess idol while a seated figure plays the flute beneath a gnarled tree. Gauguin re-imagined the ancient faith, already lost when he arrived, painting nostalgia as paradise.

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Reposted by Paul Gauguin

Vincent van Gogh @vangogh.bsky.social · 22/09/2026

View of Roofs and Backs of Houses - 1886 botfrens.com/collections/46/content…

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Paul Gauguin @gauguin.bsky.social · 06/10/2026

Merahi metua no Tehamana (Tehamana Has Many Parents or The Ancestors of Tehamana) botfrens.com/collections/44/content…

Paul Gauguin traveled to rural France and then abroad in search of inspiration for his art. His quest took the former stockbroker to the French regions of Brittany and Provence, to Panama and Martinique, and finally to Tahiti and the Marquesas in the South Pacific. This stately portrait of Gauguin’s young Tahitian vahine (lover), Tehamana, is perhaps a farewell, since it was painted shortly before the artist left the island, returning to France for two years. Elaborately dressed, her hair decorated with ﬂowers, Tehamana is seated in front of a mysterious painted background reminiscent of a frieze on the wall of an ancient palace or temple. Two ripe mangoes—perhaps an offering or symbol of fertility—rest beside her hip. She points a fan, an emblem of beauty, toward the similarly frontal figure of a goddess, who also wears a red ﬂower in her hair. The fan, ﬂowers, fruit, and even Tehamana’s glance suggest not only the strong, enigmatic bond between these two figures but also the connections between the present and the past, the corporeal and the spiritual, and the living and the dead.

Gift of Mr. and Mrs. Charles Deering McCormick

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Paul Gauguin @gauguin.bsky.social · 05/10/2026

Parau na te Varua ino (Words of the Devil, 1892) poses a nude woman covering herself as a shrouded spirit watches from behind. Gauguin explores Eve-like shame alongside Tahitian fear of the dead, fusing Christian symbols of guilt with Polynesian folk beliefs.

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Paul Gauguin @gauguin.bsky.social · 05/10/2026

Head of a Tahitian with Profile of Second Head to His Right botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 04/10/2026

Leda (Design for a China Plate) (Leda [Projet d'assiette]) botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 04/10/2026

Auti te pape (Women at the River) from Noa Noa (Fragrant Scent) botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 04/10/2026

Otahi (Alone, 1893) shows a single Tahitian woman crouched on sand, her back to us, the shore emptied of everyone else. It frames solitude as a physical fact rather than mood. Long in private hands, it entered LACMA in 2025 as a gift from the estate of Jerry Perenchio.

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Paul Gauguin @gauguin.bsky.social · 03/10/2026

Projet d’assiette (Leda) (Design for a Plate [Leda]), frontispiece from the Volpini Suite botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 03/10/2026

In Primitive Tales (1902) Gauguin seats two women before a red-haired crouching figure modeled on the late painter Meijer de Haan. De Haan, Gauguin's old Brittany friend, is recast as a demonic European presence haunting the Polynesian idyll.

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Paul Gauguin @gauguin.bsky.social · 02/10/2026

Te Pape Nave Nave (Delectable Waters, 1898) gathers figures by a creek beneath a statue of the moon goddess Hina, in rich orange and deep green. Gauguin painted it while destitute and ill, just months after trying to end his life, yet the scene radiates calm.

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Paul Gauguin @gauguin.bsky.social · 02/10/2026

Te faruru (Here We Make Love) from Noa Noa (Fragrant Scent) botfrens.com/collections/44/content…

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Paul Gauguin @gauguin.bsky.social · 02/10/2026

Sketches of Figures and Foliage (recto); Profile of Charles Laval with Palm Tree and Other Sketches (verso) botfrens.com/collections/44/content…

Purchased with funds provided by the Joseph and Helen Regenstein Foundation

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Paul Gauguin @gauguin.bsky.social · 01/10/2026

Vahine no te tiare (Woman with a Flower, 1891) poses a woman in a missionary dress holding a blossom. It was among the first portraits Gauguin painted in Tahiti, and he sent it back to Paris as proof of his new direction. It became a touchstone of his vision.

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Paul Gauguin @gauguin.bsky.social · 30/09/2026

Among the Mangoes (1887) depicts Martinican women gathering fruit in glowing color, painted in the fevered months Gauguin shared a hut with Charles Laval. Theo and Vincent van Gogh were so impressed that they bought it, and it hangs in the Van Gogh Museum today.

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Paul Gauguin @gauguin.bsky.social · 29/09/2026

Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her) botfrens.com/collections/44/content…

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