The downcast face
Look at the main face, tilted down with heavy-lidded eyes. The calm, withdrawn expression gives the head a quiet, inward presence.

“Stop to appreciate the striking intensity of these two Tahitian women, captured through the artist's masterful handling of charcoal, creating a sense of both immediacy and timelessness.”
Two Tahitian women gaze out from this charcoal drawing, one in a direct frontal view, the other in profile. Their faces are rendered with a powerful simplicity, emphasizing the contours of their features and the weight of their hair. The artist used charcoal and wetted charcoal, manipulating the medium with stumping and erasing to create soft gradations and deep shadows. You can see how the wetted charcoal gives a richer, almost painterly quality to certain areas, particularly in the women's dark hair and the shadowed planes of their faces. This approach allows for a remarkable sense of volume and presence, making these studies feel more like finished portraits than mere preparatory sketches. Created in 1891, the drawing reflects the artist's fascination with the people and culture he encountered during his first extended stay in Tahiti.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
Look at the main face, tilted down with heavy-lidded eyes. The calm, withdrawn expression gives the head a quiet, inward presence.
The full lips and broad nose are built up with firm, simple shading. The forms are plain and sculptural, with little attempt at polish.
The hair is laid in with broad, dense charcoal that pools into near black. Against the pale skin it frames the face like a dark shape.
At the left edge a second head in profile is drawn in faint, thin lines. Its lowered face and closed eye are easy to miss beside the bolder main figure.
The shoulders and chest are rubbed into a soft haze with almost no outline. The skin seems to melt into the tan paper, so the paper itself acts as the flesh tone.
The full narration walks you through Heads of Tahitian Women, Frontal and Profile Views — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Paul Gauguin, the French Post-Impressionist, abandoned a stockbroker's life for art, famously seeking 'refuge from Western civilization' in Tahiti.
Still Life: Wood Tankard and Metal Pitcher
1880 · Art Institute of Chicago
Two Tahitian Women in a Landscape
1887 · Art Institute of Chicago
Arlésiennes (Mistral)
1888 · Art Institute of Chicago
Woman in Front of a Still Life by Cezanne
1890 · Art Institute of Chicago
Te raau rahi (The Big Tree)
1891 · Art Institute of Chicago
Te burao (The Hibiscus Tree)
1892 · Art Institute of Chicago
Merahi metua no Tehamana (Tehamana Has Many Parents or The Ancestors of Tehamana)
1893 · Art Institute of Chicago
Aha oe feii? (What! Are You Jealous?)
1894 · Art Institute of Chicago
Beyond Gauguin and Symbolism: works from the same years, and from the other movements Heads of Tahitian Women, Frontal and Profile Views belongs to.
Same movement · Post-Impressionism
Equestrienne (At the Cirque Fernando)
Henri de Toulouse-Lautrec · 1887 · Art Institute of Chicago
Same era · 1870s–1900s
A Woman Walking in a Garden
Vincent van Gogh · 1887 · Frans Buffa & sons
Same movement · Post-Impressionism
Carmelina
Henri Matisse · 1903 · Museum of Fine Arts Boston
Same era · 1870s–1900s
A Sunday on La Grande Jatte — 1884
Okada Saburosuke · 1884 · Art Institute of Chicago
Same movement · Post-Impressionism
The Old Guitarist
Pablo Picasso · 1903 · Art Institute of Chicago
Same era · 1870s–1900s
Madame Léon Clapisson
Léon-Victor Dupré · 1883 · Art Institute of Chicago
Same movement · Impressionism
After the Bullfight
Mary Cassatt · 1873 · Art Institute of Chicago
Same era · 1870s–1900s
Still Life with Crayfish
Mikhail Larionov · 1900 · Museum Ludwig
Same movement · Impressionism
A Turn in the Road
Alfred Sisley · 1873 · Art Institute of Chicago
Same era · 1870s–1900s
Paris Street; Rainy Day
Kawabata Gyokushō · 1877 · Art Institute of Chicago
Same movement · Post-Impressionism
Gustave Boyer (b. 1840) in a Straw Hat
Paul Cézanne · 1870 · The Metropolitan Museum of Art
Same era · 1870s–1900s
Frauenkopf vor Sonnenblumen
Ernst Ludwig Kirchner · 1906 · Museum Frieder Burda
Same movement · Impressionism
The Pink Dress (Albertie-Marguerite Carré, later Madame Ferdinand-Henri Himmes, 1854–1935)
Berthe Morisot · 1870 · Metropolitan Museum of Art
Same era · 1870s–1900s
Stacks of Wheat (End of Summer)
Claude Monet · 1891 · Art Institute of Chicago
Same movement · Impressionism
The Beach at Sainte-Adresse
Claude Monet · 1867 · Art Institute of Chicago
Same era · 1870s–1900s
Young Girl with Hat
Berthe Morisot · 1891 · Art Institute of Chicago
Same movement · Impressionism
The Banks of the Marne in Winter
Camille Pissarro · 1866 · Art Institute of Chicago
Same era · 1870s–1900s
Haymaking at Éragny
Camille Pissarro · 1892 · Art Institute of Chicago
Same movement · Impressionism
Alfred Sisley
Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
Same era · 1870s–1900s
Henri-Gabriel Ibels (1867–1936)
Henri de Toulouse-Lautrec · 1892 · The Metropolitan Museum of Art
Same movement · Impressionism
Beggar with Oysters (Philosopher)
Édouard Manet · 1864 · Art Institute of Chicago
Same era · 1870s–1900s
Rocks at Fontainebleau
Paul Cézanne · 1890 · The Metropolitan Museum of Art
Same movement · Impressionism
Young Spartan Girls Challenging Boys
Edgar Degas · 1860 · Art Institute of Chicago
Same era · 1870s–1900s
Street in Moret
Alfred Sisley · 1890 · Art Institute of Chicago