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Noa Noa: The Devil Speaks (Mahna No Varua Ino) (recto); Women Washing Clothes (verso), 1893-1894
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Noa Noa: The Devil Speaks (Mahna No Varua Ino) (recto); Women Washing Clothes (verso), 1893-1894
Noa Noa: The Devil Speaks (Mahna No Varua Ino) (recto); Women Washing Clothes (verso), 1893-1894. When Gauguin returned to Paris from Tahiti in 1893, he conceived a book that would describe his life among the natives and place his South Seas paintings within a context. Gauguin produced ten woodcuts to illustrate Noa Noa. Printed by hand, sometimes on coloured paper, these prints have a rough-hewn, coarse quality that enhances the subject matter. An experimental printmaker, Gauguin varied inks, papers, colours, printing pressure, and even modes of printing so that each impression is unique. He would sometimes ink the woodblock unevenly, creating a partially incomprehensible image on many first-state impressions and increasing the scenes mystery and ambiguity, as here. In 1921 Pola Gauguin inked and wiped the block so that the subject is visible clearly
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Media ID 19639133
© Heritage Art/Heritage Images
1848 1903 Late 19th Century Paul Gauguin Paul Gauguin French Post Impressionism Impressionist Realism
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This print showcases a unique piece of art titled "Noa Noa: The Devil Speaks (Mahna No Varua Ino) (recto); Women Washing Clothes (verso), 1893-1894" by the renowned French artist Paul Gauguin. After his return to Paris from Tahiti in 1893, Gauguin aimed to create a book that would provide insights into his life among the natives and contextualize his South Seas paintings. As part of this endeavor, he produced ten woodcuts to illustrate the book, and this particular print captures two contrasting scenes. The recto side depicts "The Devil Speaks" showcasing Gauguin's experimental approach as he played with different inks, papers, colors, printing pressure, and techniques. This resulted in each impression being truly one-of-a-kind. With unevenly inked woodblocks creating partially incomprehensible images on some first-state impressions like this one, Gauguin masterfully adds an air of mystery and ambiguity to the scene. On the verso side is "Women Washing Clothes" where Pola Gauguin later worked on re-inking and wiping the block for greater clarity. This reveals a clearer depiction of women engaged in their daily chores against a backdrop reminiscent of Tahitian landscapes. Printed by hand on colored paper with rough-hewn textures that enhance its subject matter, this print offers viewers an opportunity to appreciate Gauguin's artistic experimentation and mastery within post-impressionism. It serves as a testament to his ability to capture both realism and imagination through woodcut prints during late 19th-century France.
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