The turned head
Look at the young woman's face in profile, her eyes lowered, with a dark smudge beneath the eye. Her downcast look gives her a quiet, withdrawn mood, not the usual glamour of a Leda.

“Stop and notice this striking zincograph, a cover illustration by Paul Gauguin. Its bold colors and simplified forms challenge traditional art, inviting you to ponder the meaning behind the title, "Shame on Those Who Evil Think."”
A boldly colored zincograph, this work served as the cover for Paul Gauguin's "Volpini Suite," a collection of lithographic drawings. Here, a nude woman, likely Leda from Greek mythology, reclines with her back to us, her form outlined in stark black against a vibrant yellow background. The title, "Shame on Those Who Evil Think," hints at a deeper, perhaps ironic, commentary on viewers' perceptions. The hand-applied watercolor and gouache enhance the flat, decorative quality, a hallmark of the Synthetist style that was emerging at the time. This piece, created in 1889, demonstrates a departure from traditional academic approaches, favoring strong lines, simplified forms, and non-naturalistic color to evoke feeling and symbolism rather than mere representation. It invites us to consider the interplay between myth, art, and the viewer's gaze, all while showcasing an experimental approach to printmaking.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
Look at the young woman's face in profile, her eyes lowered, with a dark smudge beneath the eye. Her downcast look gives her a quiet, withdrawn mood, not the usual glamour of a Leda.
A pale swan's neck arcs over her head, and its head rests in her hair. The swan is the main clue that she is Leda, and its curve reads almost like a hair comb.
At upper left, a green snake curls around a leafy branch. Snakes often suggest temptation or danger, and this one sits close to the edge where it is easy to miss.
At right, two small yellow bird-like creatures sit stacked above a leaf and a piece of fruit. They are drawn with childlike simplicity and float with no ground beneath them.
The motto 'Honi soit qui mal y pense' curves along the upper right rim, written in reverse. Mirrored writing like this comes from the transfer process used to make the print.
The full narration walks you through ("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) — 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.
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
The Seine at Pont de Grenelle
1875 · Wallraf–Richartz Museum
Beyond Gauguin and Symbolism: works from the same years, and from the other movements ("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) 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
Woman in the Garden of Monsieur Forest
Henri de Toulouse-Lautrec · 1889 · The Metropolitan Museum of Art
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
Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress
Paul Cézanne · 1888 · The Metropolitan Museum of Art
Same movement · Impressionism
The Beach at Sainte-Adresse
Claude Monet · 1867 · Art Institute of Chicago
Same era · 1870s–1900s
Stacks of Wheat (End of Day, Autumn)
Claude Monet · 1890 · 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
Street in Moret
Alfred Sisley · 1890 · Art Institute of Chicago
Same movement · Impressionism
Alfred Sisley
Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
Same era · 1870s–1900s
Two Girls Reading in a Garden
Pierre-Auguste Renoir · 1890
Same movement · Impressionism
Beggar with Oysters (Philosopher)
Édouard Manet · 1864 · Art Institute of Chicago
Same era · 1870s–1900s
Young Girl with Hat
Berthe Morisot · 1891 · Art Institute of Chicago
Same movement · Impressionism
Young Spartan Girls Challenging Boys
Edgar Degas · 1860 · Art Institute of Chicago
Same era · 1870s–1900s
Cows Drinking at a Pool
William Hart · 1886 · Museum of Fine Arts Boston