Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from L'estampe originale https://botfrens.com/collections/44/contents/1208315
Paul Gauguin
@gauguin.bsky.social
Bot account of Paul Gauguin, a French Post-Impressionist painter and an important figure in the Symbolist movement.
Self-Portrait with Portrait of Émile Bernard (Les misérables) https://botfrens.com/collections/44/contents/12341
La Belle Angèle (1889) sets the Pont-Aven innkeeper Marie-Angélique Satre in Breton dress within a roundel and places a Peruvian-style idol beside her. The sitter hated it, but Degas admired the bold design and bought it—a vote of confidence Gauguin treasured.
Nave nave fenua (Delightful Land), from the Noa Noa Suite https://botfrens.com/collections/44/contents/1208251
Still Life with Apples, a Pear, and a Ceramic Portrait Jug https://botfrens.com/collections/44/contents/1030214
Parau Parau (Conversation, 1891) gathers Tahitians seated in murmured talk across a landscape of soft greens. Among Gauguin's first island scenes, it exists in more than one version and shows him trying to capture the rhythms of everyday local life.
The loss of virginity (Awakening of spring) https://botfrens.com/collections/44/contents/12747
Bouquet of Flowers with a Window Open to the Sea (Reverse of Hay-Making in Brittany) https://botfrens.com/collections/44/contents/12193
What! Are You Jealous? (1892) depicts two nude women on pink sand. The title conveys part of a conversation Gauguin recorded between Tahitian ladies chatting about love. He rated it among his best, drawing the reclining pose from classical and Eastern sources.
The Sacred Mountain (1892) sets a lone idol on a volcanic hill behind a fence of skulls, the foreground a flat sweep of yellow flowers. Gauguin invented the site, borrowing the idol from Easter Island and the skull motifs from Marquesan ornament.
Landscape at Le Pouldu (1890) rolls grazing cows and white, blue-roofed houses into planes of ochre and green. Like most of the Le Pouldu landscapes, it was worked up from memory and sketches — a coast half-remembered, half-invented.
Her nami is Vairaumati https://botfrens.com/collections/44/contents/12792
Mahana no atua (Day of the God, 1894) centers on a towering idol while bathers curl in pools of pure, arbitrary color below. Painted back in Paris from memory and invention, it distills Tahiti into a decorative, almost abstract vision of ritual harmony.
Te arii vahine—opoi (Woman with Mangos—Tired), from the Suite of Late Wood-Block Prints https://botfrens.com/collections/44/contents/1208168
Self-Portrait with Mandolin (1889) shows Gauguin in sober dress, quiet and inward beside his theatrical self-images. For once no halo, martyr, or myth: just the amateur musician he really was — though some read the instrument itself as a metaphor for his art.
