The hand-cut title
Look at the swirling letters of "Le Sourire" at upper left. Gauguin carved the title as part of the picture, with wobbly, lively shapes.

“Stop to see a rare, raw woodcut by Paul Gauguin that served as the masthead for his satirical magazine, *Le Sourire*. Its bold lines and enigmatic smile offer a glimpse into his later, more experimental work.”
A wide, almost mischievous grin dominates the center of this woodcut, rendered with a raw, expressive energy. This face, framed by dark, flowing hair, emerges from a dense, almost chaotic background of abstract shapes, suggesting a figure deeply embedded in nature or perhaps a dreamlike state. The bold, somewhat crude lines, typical of woodcut printing, give the image an immediate, visceral quality, far removed from the polished surfaces of academic art. This particular impression, printed on delicate china paper, allows the deep black ink to stand out with striking contrast against the pale surface. Created in 1899, this work was a header for Gauguin's self-published monthly magazine, Le Sourire (The Smile), produced during his time in Tahiti and the Marquesas Islands. The publication, often satirical, featured his drawings and woodcuts, reflecting his desire to create art outside the conventional European art world.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
Look at the swirling letters of "Le Sourire" at upper left. Gauguin carved the title as part of the picture, with wobbly, lively shapes.
At left, a black animal with pointed ears stands beside a round-eyed bird. The pairing feels strange and dreamlike, and the print gives no clear story to explain it.
In the center, a figure with a pale face sits wrapped in heavy folds of cloth. The curving white lines of the drapery give her a solid, weighty presence.
At lower right, a woman in a dark hood bends over an open book, her clasped hands raised near her mouth. Her quiet, inward pose contrasts with the busier panels beside her.
Top right, a dark face with round eyes and a wide mouth floats above the reader. It reads like a mask or a grinning spirit, and it is easy to skip past.
The full narration walks you through Le Sourire — 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.
("Leda") Design for a Plate: Shame on Those Who Evil Think (Honi Soit Qui Mal y Pense) ; cover illustration for the "Volpini Suite" entitled Lithographic Drawings (Dessins lithographiques)
1889 · The Metropolitan Museum of Art
Ia Orana Maria (Hail Mary)
1891 · The Metropolitan Museum of Art
Tahitian Women Bathing
1892 · The Metropolitan Museum of Art
The Siesta
1892 · The Metropolitan Museum of Art
A Farm in Brittany
1894 · The Metropolitan Museum of Art
Still Life with Teapot and Fruit
1896 · The Metropolitan Museum of Art
Three Tahitian Women
1896 · The Metropolitan Museum of Art
Two Tahitian Women
1899 · The Metropolitan Museum of Art
Beyond Gauguin and Symbolism: works from the same years, and from the other movements Le Sourire belongs to.
Same movement · Post-Impressionism
Carmelina
Henri Matisse · 1903 · Museum of Fine Arts Boston
Same era · 1880s–1910s
A Woman Walking in a Garden
Vincent van Gogh · 1887 · Frans Buffa & sons
Same movement · Post-Impressionism
The Old Guitarist
Pablo Picasso · 1903 · Art Institute of Chicago
Same era · 1880s–1910s
Still Life with Crayfish
Mikhail Larionov · 1900 · Museum Ludwig
Same movement · Post-Impressionism
Equestrienne (At the Cirque Fernando)
Henri de Toulouse-Lautrec · 1887 · Art Institute of Chicago
Same era · 1880s–1910s
Frauenkopf vor Sonnenblumen
Ernst Ludwig Kirchner · 1906 · Museum Frieder Burda
Same movement · Impressionism
After the Bullfight
Mary Cassatt · 1873 · Art Institute of Chicago
Same era · 1880s–1910s
A Sunday on La Grande Jatte — 1884
Okada Saburosuke · 1884 · Art Institute of Chicago
Same movement · Impressionism
A Turn in the Road
Alfred Sisley · 1873 · Art Institute of Chicago
Same era · 1880s–1910s
Haystacks, Morning, Eragny
Camille Pissarro · 1899 · The Metropolitan Museum of Art
Same movement · Post-Impressionism
Gustave Boyer (b. 1840) in a Straw Hat
Paul Cézanne · 1870 · The Metropolitan Museum of Art
Same era · 1880s–1910s
Jean Renoir Sewing
Pierre-Auguste Renoir · 1899 · Art Institute of Chicago
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 · 1880s–1910s
Mademoiselle Nys
Henri de Toulouse-Lautrec · 1899 · The Metropolitan Museum of Art
Same movement · Impressionism
The Beach at Sainte-Adresse
Claude Monet · 1867 · Art Institute of Chicago
Same era · 1880s–1910s
Water Lily Pond
Claude Monet · 1899 · Pola Museum of Art
Same movement · Impressionism
The Banks of the Marne in Winter
Camille Pissarro · 1866 · Art Institute of Chicago
Same era · 1880s–1910s
The Kiss
Edvard Munch · 1897 · Munch Museum
Same movement · Impressionism
Alfred Sisley
Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
Same era · 1880s–1910s
Maternal Caress
Mary Cassatt · 1896 · Philadelphia Museum of Art
Same movement · Impressionism
Beggar with Oysters (Philosopher)
Édouard Manet · 1864 · Art Institute of Chicago
Same era · 1880s–1910s
The Loire
Alfred Sisley · 1896 · Art Institute of Chicago
Same movement · Post-Impressionism
Composition (No. 1) Gray-Red
Piet Mondrian · 1935 · Art Institute of Chicago
Same era · 1880s–1910s
House and Courtyard
John Singer Sargent · 1895 · The Metropolitan Museum of Art