The Flowers of France

The still life with flowers, a typical Impressionist subject, is given a new, exotic reading here. Gauguin's Polynesian experience altered his way of interpreting colour and light. Whereas in Brittany he had preferred pure, simple colours, in the Pacific he experimented with new shades and hues, positioned in an seemingly random way, that brought out the true radiance of the subject, as testified by these beautiful flowers. In this work the soft light seems to emanate from an indirect source. When he realized that his career as a portrait artist for the local European community was not likely to take off, Gauguin turned to the indigenous population, who had welcomed him with warmth.

Mataïea

Disappointed by Papeete's European flavour, Gauguin left the city to look for an environment that was still unspoiled and wild. He moved to the south of the island, where he rented a bamboo hut with a roof made of palm leaves. He lived in the thick of tropical vegetation, in front of a blue lagoon, with a girl of mixed blood who had accompanied him there, Titi.

What! Are you Jealous?

This was a carefully designed picture. This is proven by the many preparatory sketches, especially those for the stretched-out figure, which was added later. Painted in 1892, it is kept in the Pushkin Museum in Moscow.

The pose of the broad, statuesque girl in the foreground is carefully studied. Her strong, decisive personality is revealed in the curve of the nose and the closed lips and, although her face is in profile, her right eye looks out towards the viewer in a mischievous, yet childlike way. Her black hair is in direct contrast with the crown of white flowers on her head, and her dark skin is highlighted by the bright pink sand on the beach.

Gauguin used colors rather than images to express the symbolic meaning of this work. This remarkable innovation greatly influenced later painting, and was a determining factor in the birth of Abstraction. The rapport between the two girls lazily lying on a sunny beach is evoked by their calm, relaxed attitude. The position of the girl in the background is unusual and indicative of Gauguin's desire to look for new artistic solutions.

In April 1893 Gauguin left Tahiti and, three months later, landed in Marseilles. Following the recommendations of Degas, who was a keen admirer of Gauguin’s art, the Durand-Ruel gallery organized his first great personal exhibition. He put 44 paintings and two sculptures on show. His works aroused a great deal of interest and caused a sensation. However, in spite of the enthusiasm of the young Symbolists, most of the critics and public failed to understand his art and remained unmoved by it.

On the eve of a later exhibition Gauguin asked Auguste Sprindberg, who had been a regular presence at his studio, to write the preface for his catalogue. The Swedish playwright refused, admitting that, although fascinated by Gauguin’s art, he could not “understand or love it”. Gauguin published the letter Sprindberg had sent along with his reply. In his letter Gauguin acknowledged “the enormous chasm between your civilization and my primitive state: the former weighs you down, while my uncivilized state to me is life itself”.