The standing woman's glance
She turns her face over her shoulder and meets us with a calm, sidelong look. Her red lips and dark eyes anchor the whole sheet.

“Stop to appreciate this early, intimate vision of Tahitian life, rendered with vivid colors and a unique monotype technique. It offers a glimpse into an artist's evolving style and his fascination with distant cultures.”
Two Tahitian women dominate this vibrant landscape, their forms rendered in bold outlines and saturated color. One woman stands facing us, her head tilted, while the other sits, her back to the viewer, gazing into the distance. This artwork is a monotype, a unique print made by painting directly onto a surface and then transferring the image to paper. The technique allows for a painterly quality, evident in the fluid washes of watercolor and gouache that give the scene its rich texture and depth. It was made in 1887, a few years before the artist's first extended stay in Tahiti, suggesting an early fascination with the region's people and environment. The work's vivid palette and flattened forms hint at the Post-Impressionist and Symbolist movements, emphasizing emotional expression over realistic depiction. The strong outlines and simplified shapes create a sense of timelessness, inviting contemplation of the figures and their serene surroundings.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
She turns her face over her shoulder and meets us with a calm, sidelong look. Her red lips and dark eyes anchor the whole sheet.
Low at the right, a smaller figure rests her chin on her fist and looks out at us. She meets the standing woman's gaze from a different height.
The blue cloth is washed in uneven, mottled patches, with pale cream flower and crescent shapes left or dabbed in. It is the strongest color on the sheet. The same blue repeats in the cloth near the crouching figure.
Flat, scalloped green shapes sit behind the woman like a halo. Dark outlines turn plants into patterns and push her forward.
Sharp, saturated blue peaks and a reddish slope rise at the right. Their bold, flat color reads more as a decorative note than a literal view.
The full narration walks you through Two Tahitian Women in a Landscape — 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
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 Two Tahitian Women in a Landscape 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 · Impressionism
After the Bullfight
Mary Cassatt · 1873 · 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
A Turn in the Road
Alfred Sisley · 1873 · Art Institute of Chicago
Same era · 1870s–1900s
Madame Léon Clapisson
Léon-Victor Dupré · 1883 · Art Institute of Chicago
Same movement · Post-Impressionism
Carmelina
Henri Matisse · 1903 · Museum of Fine Arts Boston
Same era · 1870s–1900s
Paris Street; Rainy Day
Kawabata Gyokushō · 1877 · Art Institute of Chicago
Same movement · Post-Impressionism
The Old Guitarist
Pablo Picasso · 1903 · Art Institute of Chicago
Same era · 1870s–1900s
Still Life with Crayfish
Mikhail Larionov · 1900 · Museum Ludwig
Same movement · Post-Impressionism
Gustave Boyer (b. 1840) in a Straw Hat
Paul Cézanne · 1870 · The Metropolitan Museum of Art
Same era · 1870s–1900s
Albert (René) Grenier (1858–1925)
Henri de Toulouse-Lautrec · 1887 · 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
Cows Drinking at a Pool
William Hart · 1886 · Museum of Fine Arts Boston
Same movement · Impressionism
The Beach at Sainte-Adresse
Claude Monet · 1867 · Art Institute of Chicago
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 Banks of the Marne in Winter
Camille Pissarro · 1866 · Art Institute of Chicago
Same era · 1870s–1900s
Rocks at Port-Goulphar, Belle-Île
Claude Monet · 1886 · Art Institute of Chicago
Same movement · Impressionism
Alfred Sisley
Pierre-Auguste Renoir · 1864 · Foundation E.G. Bührle Collection
Same era · 1870s–1900s
Forêt de Compiègne
Berthe Morisot · 1885 · Art Institute of Chicago
Same movement · Impressionism
Beggar with Oysters (Philosopher)
Édouard Manet · 1864 · Art Institute of Chicago
Same era · 1870s–1900s
Studies of Pierre Renoir; His Mother, Aline Charigot; Nudes; and Landscape
Pierre-Auguste Renoir · 1885 · Art Institute of Chicago
Same movement · Impressionism
Young Spartan Girls Challenging Boys
Edgar Degas · 1860 · Art Institute of Chicago
Same era · 1870s–1900s
The Sick Child
Edvard Munch · 1885 · National Museum of Art, Architecture and Design