Human Miseries, from the Volpini Suite

Human Miseries, from the Volpini Suite by Paul Gauguin (French, 1848-1903), created in 1889, is a crucial example of the artist's developing Synthetist aesthetic realized through the graphic arts. This challenging and experimental period saw Gauguin producing eleven distinctive zincographs, which were displayed at the Café Volpini in Paris as a counter-exhibition to the official 1889 Exposition Universelle. This ambitious suite of prints was essential in establishing Gauguin’s reputation among Symbolist circles in France.

The work’s complexity is enhanced by its specific materiality: a zincograph executed in reddish-brown ink pressed onto a highly unconventional chrome yellow wove paper. This unique combination of colors amplifies the stark, simplified forms that characterize Gauguin’s mature style. Unlike traditional lithography, the zincograph process, favored by the artist, allowed for a rougher, more direct transfer of his drawings, reinforcing the crude, emotional power required by the subject matter.

The title and imagery of Human Miseries reflect Gauguin’s preoccupation with existential suffering and the search for authentic, primitive life, themes that would dominate his oeuvre. The deliberate flatness, heavy outlines, and unusual color palette align the print with the developing Symbolist principles of Synthetism, prioritizing subjective emotion over objective representation.

These important 1889 prints highlight Gauguin’s dedication to mastering graphic techniques, producing works that often defy easy categorization. This particular impression of Human Miseries exemplifies the raw, expressive power of the artist’s early Symbolist output before his departure from Europe. The piece is part of the distinguished permanent collection of the Art Institute of Chicago, ensuring the study of Gauguin’s groundbreaking technical explorations is widely accessible.