Mahana atua (Day of the God)

Mahana atua (Day of the God), created by Paul Gauguin (French, 1848-1903) between 1894 and 1895, is an extraordinary example of late 19th-century prints that defied traditional classification. This piece utilizes a wood-block printed in black ink on delicate cream Japanese paper. Gauguin complicated the printmaking process by enhancing the front (recto) with manual additions of solvent-thinned watercolors in vibrant blue, red, and orange, blurring the line between graphic art and unique painting. Further distinguishing the work, the reverse (verso) bears a distinct maculature impression-a secondary, intentional printing of the woodblock using layered brown and brown-black inks.

Created during Gauguin’s second major period of artistic production, this work reflects his deep engagement with non-Western cultures and his search for spiritual truth outside of metropolitan France. The complexity of the printing process, where the same block yields distinctly different results on the recto and verso, underscores Gauguin's commitment to expressive experimentation. His adoption of the crude, powerful woodblock medium aligned with his Symbolist ideals, allowing him to create raw, mythological scenes referencing Polynesian subject matter, though often filtered through a European lens.

This highly experimental approach characterizes Gauguin’s output during the mid-1890s. The rare and complex nature of this specific impression of Mahana atua highlights the artist’s inventive spirit and willingness to push the boundaries of printmaking technology. Today, this foundational work of modern art resides in the esteemed permanent collection of the Art Institute of Chicago, offering scholars and the public access to Gauguin's revolutionary technique. Like many master prints from this period, high-resolution documentation of this artwork is frequently available through public domain initiatives.