Maruru (Offerings of Gratitude), from the Noa Noa Suite, is a profound wood-block print created by Paul Gauguin during the critical period of 1893-1894, following his return from his first transformative journey to Tahiti. This impression, realized in black ink on delicate grayish-ivory China paper, showcases the expressive, often raw quality characteristic of Gauguin’s experimental graphic work. While the initial woodblocks were carved by the artist in France, capitalizing on the expressive potential of the relief printing process, this edition was printed posthumously by his son, Pola Gauguin, and published by Christian Cato in Copenhagen. The complex history of its production highlights the enduring commercial and artistic interest in Gauguin’s graphic output.
This piece belongs to the famed Noa Noa Suite, a set of ten prints conceived to accompany Gauguin’s illustrated travelogue documenting his Polynesian experiences. The artist sought to visualize the spiritual mystery and exoticism he perceived in the South Pacific, often employing bold lines and flattened forms influenced by the indigenous art he encountered. The title Maruru, which translates as "gratitude" or "thanks," anchors the thematic focus on offerings, rituals, and the spiritual relationship between the Tahitian people and nature—a central element of the idealized narrative Gauguin constructed about life outside of European civilization.
As one of the most important sequences of Symbolist prints produced in France during the late 19th century, the Noa Noa Suite solidified Gauguin's reputation as a master of modern graphic art. This work exemplifies his commitment to the visceral medium of wood-block prints as a tool for communicating intense emotion and cultural commentary. This pivotal example of post-Impressionist prints is held in the comprehensive collection of the Art Institute of Chicago, ensuring its continued study and appreciation alongside related works often made accessible through public domain initiatives.
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