Manao Tupapau (She is Haunted by a Spirit)

Manao Tupapau (She is Haunted by a Spirit) by Paul Gauguin; Pola Gauguin; Christian Cato, executed between 1894 and 1895, is a critical example of Symbolist printmaking. Classified as a woodcut on China paper, this deeply evocative graphic work translates the highly symbolic themes explored by Gauguin during his time in Tahiti into the stark, powerful contrasts inherent in relief printing. The creation of this piece falls squarely within the critical period of 1876 to 1900, when French artists were intensely exploring non-Western subjects and utilizing innovative printmaking techniques, deliberately moving away from established academic norms.

The subject, translating to "She is Haunted by a Spirit," depicts a reclining figure grappling with spiritual apprehension or local Tahitian superstition concerning the tupapau, or night spirit. Unlike the earlier oil painting of the same name, which employed lush colors and nuanced shadows, this print relies entirely on the dense black masses and delicate white lines carved into the wood block. Gauguin’s decision to utilize the woodcut medium highlights his interest in primitivism, employing a rough, intentionally unrefined carving style that maximized the expressive potential of the raw materials. The involvement of Pola Gauguin and Cato in later printings or iterations underscores the complexity and lasting resonance of the initial concept, ensuring that these important prints remained in circulation.

This potent work is recognized for its significant contribution to the development of modern prints, emphasizing the French engagement with Oceanic cultures during the late 19th century. The intentional crudeness of the woodcut technique became a powerful visual tool for conveying fear and spiritual dread. This particular impression of Manao Tupapau is part of the distinguished permanent collection of the National Gallery of Art, offering scholars and the public an intimate look at the experimental graphic output of this influential period. As a key example of the artistic innovations prevalent between 1876 to 1900, this piece continues to inform studies in French art history, illustrating the shift toward conceptual and symbolic representation in the European artistic sphere.