The frontal face
Start with the large central face. The heavy-lidded, blank eyes and firm mouth give her a calm, steady presence.

“This striking charcoal drawing offers an intimate glimpse into Gauguin's artistic process, showcasing his studies of Tahitian women and his masterful ability to capture character with simple, yet powerful, lines.”
Look closely at these charcoal sketches, where Paul Gauguin captures the essence of Tahitian women through a series of expressive profiles and a direct frontal gaze. The paper itself, with its subtle texture, becomes part of the drawing, allowing the charcoal to create a soft, almost velvety finish on the skin of the figures. Each face, though rendered with a fluid economy of line, conveys a distinct personality, from the serene, downcast eyes in one profile to the more assertive, almost challenging stare of the central figure. These studies reveal Gauguin's fascination with the people of Tahiti, where he sought a different kind of beauty and a connection to a more primal, unspoiled world, far removed from the urban bustle of Europe.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
Start with the large central face. The heavy-lidded, blank eyes and firm mouth give her a calm, steady presence.
The eyes are drawn as soft, smudged lids with no visible pupils. That leaves her gaze hard to read and gives the face a quiet, inward feel.
At right, a faint profile nearly vanishes into the paper. It is drawn so lightly that it sits like a quiet echo beside the main face.
The profile at lower left is drawn in thin, light lines. Follow the sharp line from brow to nose, lips and chin.
Three heads share one sheet, overlapping with no frame. The big frontal face anchors it while the profiles circle it at different strengths.
The full narration walks you through Tahitian Faces (Frontal View and Profiles) — 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 Tahitian Faces (Frontal View and Profiles) 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
Still Life with Crayfish
Mikhail Larionov · 1900 · Museum Ludwig
Same movement · Post-Impressionism
The Old Guitarist
Pablo Picasso · 1903 · Art Institute of Chicago
Same era · 1870s–1900s
A Sunday on La Grande Jatte — 1884
Okada Saburosuke · 1884 · Art Institute of Chicago
Same movement · Impressionism
After the Bullfight
Mary Cassatt · 1873 · Art Institute of Chicago
Same era · 1870s–1900s
Madame Léon Clapisson
Léon-Victor Dupré · 1883 · Art Institute of Chicago
Same movement · Impressionism
A Turn in the Road
Alfred Sisley · 1873 · Art Institute of Chicago
Same era · 1870s–1900s
Frauenkopf vor Sonnenblumen
Ernst Ludwig Kirchner · 1906 · Museum Frieder Burda
Same movement · Post-Impressionism
Gustave Boyer (b. 1840) in a Straw Hat
Paul Cézanne · 1870 · The Metropolitan Museum of Art
Same era · 1870s–1900s
The Sofa
Henri de Toulouse-Lautrec · 1894 · 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
Woman Bathing Her Feet in a Brook
Camille Pissarro · 1894 · Art Institute of Chicago
Same movement · Impressionism
The Beach at Sainte-Adresse
Claude Monet · 1867 · Art Institute of Chicago
Same era · 1870s–1900s
House and Courtyard
John Singer Sargent · 1895 · The Metropolitan Museum of Art
Same movement · Impressionism
The Banks of the Marne in Winter
Camille Pissarro · 1866 · Art Institute of Chicago
Same era · 1870s–1900s
The Child's Bath
Mary Cassatt · 1893 · Art Institute of Chicago
Same movement · Impressionism
Alfred Sisley
Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
Same era · 1870s–1900s
The Hands
Edvard Munch · 1893 · Munch Museum
Same movement · Impressionism
Beggar with Oysters (Philosopher)
Édouard Manet · 1864 · Art Institute of Chicago
Same era · 1870s–1900s
The Loire
Alfred Sisley · 1896 · Art Institute of Chicago
Same movement · Impressionism
Young Spartan Girls Challenging Boys
Edgar Degas · 1860 · Art Institute of Chicago
Same era · 1870s–1900s
Stacks of Wheat (End of Summer)
Claude Monet · 1891 · Art Institute of Chicago