The wooden tankard
The big rust-brown tankard fills the center. Its lid and warm orange body, dabbed with reds and greens, make it the heavy anchor of the scene.

“This still life offers a rare glimpse into Paul Gauguin’s early, Impressionistic style, before his iconic vibrant colors and Tahitian subjects. Notice the masterful rendering of light and texture on these everyday objects.”
A humble wooden tankard and a gleaming metal pitcher stand side by side on a simple tabletop, bathed in a soft, diffused light. The careful attention to texture is striking, from the rough grain of the wood to the reflective surface of the pewter-like pitcher, which subtly mirrors its surroundings. This early work by Paul Gauguin, painted in 1880, showcases his roots in Impressionism, particularly in the way light plays across the forms and the muted, earthy color palette. It’s a quiet, intimate scene, a departure from the vibrant, symbolic canvases he would later create. The composition, with its close-up view and balanced arrangement, invites a moment of contemplation, highlighting the beauty in everyday objects before his dramatic shift to more exotic subjects and bolder styles.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
The big rust-brown tankard fills the center. Its lid and warm orange body, dabbed with reds and greens, make it the heavy anchor of the scene.
On the left, the tankard's handle ends in a knotted, carved top, with an open hole showing a bit of pale table through it. At first glance it can read as a dark blob.
Small and cool grey-blue, the pitcher on the right answers the tankard's warmth. Its small lid and slim handle make a neat contrast to the bulk beside it.
Shadows from the tankard and pitcher stretch left across the pale tabletop in blue, green and darker strokes. They tie the objects to the table and suggest light coming from the right.
Along the top edge, vertical strokes of white, blue, green and red make a loose stripe pattern. The shapes here are sketchy and nearly abstract.
The full narration walks you through Still Life: Wood Tankard and Metal Pitcher — 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.
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
Mahana no atua (Day of the God)
1894 · Art Institute of Chicago
Beyond Gauguin and Symbolism: works from the same years, and from the other movements Still Life: Wood Tankard and Metal Pitcher belongs to.
Same movement · Impressionism
After the Bullfight
Mary Cassatt · 1873 · Art Institute of Chicago
Same era · 1860s–1890s
Cart with Black Ox
Vincent van Gogh · 1884 · Portland Art Museum
Same movement · Impressionism
A Turn in the Road
Alfred Sisley · 1873 · Art Institute of Chicago
Same era · 1860s–1890s
Madame Léon Clapisson
Léon-Victor Dupré · 1883 · Art Institute of Chicago
Same movement · Post-Impressionism
Equestrienne (At the Cirque Fernando)
Henri de Toulouse-Lautrec · 1887 · Art Institute of Chicago
Same era · 1860s–1890s
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 · 1860s–1890s
A Sunday on La Grande Jatte — 1884
Okada Saburosuke · 1884 · 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 · 1860s–1890s
Apples and Grapes
Claude Monet · 1880 · Art Institute of Chicago
Same movement · Impressionism
The Beach at Sainte-Adresse
Claude Monet · 1867 · Art Institute of Chicago
Same era · 1860s–1890s
Café Singer
Edgar Degas · 1879 · Art Institute of Chicago
Same movement · Impressionism
The Banks of the Marne in Winter
Camille Pissarro · 1866 · Art Institute of Chicago
Same era · 1860s–1890s
On a Balcony
Mary Cassatt · 1879 · Art Institute of Chicago
Same movement · Impressionism
Alfred Sisley
Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
Same era · 1860s–1890s
Rabbit Warren at Pontoise, Snow
Camille Pissarro · 1879 · Art Institute of Chicago
Same movement · Impressionism
Beggar with Oysters (Philosopher)
Édouard Manet · 1864 · Art Institute of Chicago
Same era · 1860s–1890s
Young Woman Sewing
Pierre-Auguste Renoir · 1879 · Art Institute of Chicago
Same movement · Impressionism
Young Spartan Girls Challenging Boys
Edgar Degas · 1860 · Art Institute of Chicago
Same era · 1860s–1890s
Mademoiselle Isabelle Lemonnier (1857–1926)
Édouard Manet · 1878 · Metropolitan Museum of Art
Same movement · Post-Impressionism
Carmelina
Henri Matisse · 1903 · Museum of Fine Arts Boston
Same era · 1860s–1890s
Woman in a Garden
Berthe Morisot · 1882 · Art Institute of Chicago
Same movement · Post-Impressionism
The Old Guitarist
Pablo Picasso · 1903 · Art Institute of Chicago
Same era · 1860s–1890s
Scene at Napanoch
William Hart · 1883 · The Metropolitan Museum of Art