Tahitians, Flowers, and Leaves, headpiece for Le sourire

Tahitians, Flowers, and Leaves, headpiece for Le sourire by Paul Gauguin French, 1848-1903 is a highly stylized wood-block print executed between 1899 and 1900. Created using black ink on cream wove paper, this work exemplifies Gauguin’s late-career engagement with printmaking as a primary expressive format.

This particular print served a specific function as a decorative headpiece for the satirical review Le Sourire (The Smile), which was published in Paris while Gauguin resided in Tahiti. This context underscores the work’s dual nature: a fine art print designed by a major Post-Impressionist, yet created as a commercial component to disseminate his exoticized vision to a French audience. The composition features two figures of Tahitians integrated with dense, decorative floral and foliate motifs, characteristic of the synthetic style Gauguin developed in the South Pacific.

Gauguin’s experimental approach to the wood-block technique resulted in intentionally raw, vigorous impressions. He deliberately utilized the grain of the wood, allowing imperfections and texture to create tonal variation and shadow, thereby pushing the boundaries of traditional French printmaking. The stark contrast between the black ink and the cream paper enhances the flattened, monumental forms of the figures, reflecting his persistent search for primal artistic truths away from European civilization. As a key piece in the artist’s graphic output, this important print is preserved in the permanent collection of the Art Institute of Chicago. Its inclusion in major museum collections ensures that reproductions, often made available through public domain initiatives, continue to influence artists and scholars globally.