Curator

Art Institute Chicago
Harvard art museum
My Exhibition

A work made of wood-block print, printed twice in deep-yellow ocher and black ink, on cream wove paper (an imitation japanese vellum), mounted on mottled blue wove laminate card (recto); wood-block print in black ink over red ink tone block, and brush and solvent-thinned orange wash, on cream wove paper (an imitation japanese vellum) mounted on mottled blue wove laminate card (verso).

Oviri, 1894

Paul Gauguin

A work made of mimeograph in brownish-black ink, with wood-block print in black ink on cream wove paper.

Le sourire: Journal méchant, Mar. 1900, 1900

Paul Gauguin

A work made of wood-block print in black ink, over brush and solvent thinned and selectively applied ocher, reddish-orange and touches of green wax-and-resin-based media, on cream wove paper.

Tahitian Idol—the Goddess Hina, 1894/95

Paul Gauguin

A work made of wood-block print in black ink on thin ivory japanese paper, laid down on white japanese paper.

Human Miseries, from the Suite of Late Wood-Block Prints, 1898/99

Paul Gauguin

A work made of wood-block print in black ink on thin ivory japanese paper, tipped on thin white japanese paper.

Wayside Shrine in Brittany, from the Suite of Late Wood-Block Prints, 1898/99

Paul Gauguin

A work made of wood-block print, printed twice in black ink, on cream japanese paper.

Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), 1894/95

Paul Gauguin

A work made of wood-block print in black on thin, ivory japanese paper.

Fox, Busts of Two Women, and a Rabbit, headpiece for Le sourire, 1899/1900

Paul Gauguin

A work made of wood-block print, printed twice in brown and black ink, on cream wove japanese paper laid down on cream wove japanese paper.

A Fisherman Drinking Beside His Canoe, 1894

Paul Gauguin

A work made of wood-block print in black ink on thin ivory japanese paper perimeter mounted on white japanese paper.

Buddha, from the Suite of Late Wood-Block Prints, 1898/99

Paul Gauguin

A work made of wood-block print, printed twice in deep-yellow ocher and brown ink, with touches of black watercolor, on cream wove paper (an imitation japanese vellum), mounted on mottled blue wove laminate card (recto); wood-block print in black ink over red ink tone block, and brush and solvent-thinned orange wash, on cream wove paper (an imitation japanese vellum) mounted on mottled blue wove laminate card (verso).

Oviri, 1894

Paul Gauguin

A work made of wood-block print, printed twice in brown and black inks, with selective wiping, and a transferred twill impression, touches of brush and red and green watercolors, and traces of brush and black ink, on pale-pink wove paper (faded to tan).

Te faruru (Here We Make Love), from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of wood-block print, printed twice in brown and black inks, with selective wiping, and a transferred twill impression, on pale-pink wove paper (faded to tan).

Manau tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of wood-block print in black ink, with touches of reddish-brown watercolor and black ink, over yellow ink tone block and transferred golden-yellow, orange, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream japanese paper, laid down on heavy cream wove card.

Noa Noa (Fragrant), from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of wood-block print in black ink, over traces of brown ink, with hand-applied blue, light blue, several greens, pink, orange, pale-orange, yellow, pale-red, and dark-gray watercolor, on ivory japanese paper.

Noa Noa (Fragrant), from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of wood-block print, printed twice in brown and black inks, with selective wiping, and hand-applied red, two tones of orange, yellow, two tones of blue, silver-gray, and black watercolor, on cream laid japanese paper laid down on cream wove japanese paper (a laminate made by the artist).

Te po (The Night) from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of wood-block print, printed twice in yellow ocher and black inks, over yellow ink tone block, and transferred golden-yellow, green, red-orange, and red oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream japanese paper.

Te atua (The God) from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of wood-block print in black ink, with hand-applied red, blue, green, yellow, red-orange, and silver-gray watercolor on tan wove paper.

Nave nave fenua (Delightful Land), from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of wood-block print, printed twice in black and brown inks, with selective wiping, and hand-applied orange, yellow, red, two tones of green, two tones of blue, silver-gray and black watercolor, on cream wove japanese paper laid down on cream laid japanese paper (a laminate made by the artist).

L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of wood-block print, printed in black ink with traces of residual brown ink, with selective wiping, over solvent-thinned and transferred and stenciled yellow, orange, red, blue, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), with touches of brush and black ink, on medium-weight, smooth, pink wove paper (faded to tan).

L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite, 1893–94

Paul Gauguin

A work made of wood-block print, printed twice in brown and black inks, with selective wiping of the brown, and hand-applied green, blue, two yellows, and pink watercolor on ivory wove japanese paper laid down on cream laid japanese paper (a laminate made by the artist).

Maruru (Offerings of Gratitude), from the Noa Noa Suite, 1893/94

Paul Gauguin

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