The woman's face
Look at her pale, greenish face and sidelong stare. Her gaze drifts off to the side, which gives the portrait a guarded, private mood.

“This intriguing painting features a woman seated before a bold, almost life-sized copy of a still life by Cézanne, revealing Gauguin's deep engagement with another master's work.”
In this painting, a woman sits quietly, her gaze directed away from the viewer, while behind her, a vibrant still life bursts with color. The still life is not just any painting; it's a nearly life-sized rendition of Paul Cézanne’s Still Life with Fruit Dish, a work Gauguin owned and greatly admired. Notice how the composition feels intentionally flattened, almost as if the woman is tipping forward out of her chair, a stylistic choice that echoes Cézanne's own approach to rendering space. This painting offers a fascinating glimpse into Gauguin's artistic development, as he engaged deeply with the work of his contemporaries. It's possible this very painting was on Cézanne's mind when he famously accused Gauguin of "stealing his petite sensation," highlighting the complex relationship between these two influential artists.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
Look at her pale, greenish face and sidelong stare. Her gaze drifts off to the side, which gives the portrait a guarded, private mood.
The blouse is built from blocks of rose, mauve and violet, with a cool white collar set against them. The color does the shaping, not smooth blending.
Her torso seems to press toward you because the space behind her is so shallow. The cluttered, tilted background and the bold outlines keep her close to the picture surface.
The green and orange fruit on the right come from Cezanne's still life, which Gauguin once owned. He is paying homage to a painting he treasured.
Near the lower right edge, just above the sitter's hand, Gauguin signed and dated the canvas ('P. Go' and '90'). It is easy to miss against the pale cloth.
The full narration walks you through Woman in Front of a Still Life by Cezanne — 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
Two Tahitian Women in a Landscape
1887 · Art Institute of Chicago
Arlésiennes (Mistral)
1888 · 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 Woman in Front of a Still Life by Cezanne 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
Rocks at Fontainebleau
Paul Cézanne · 1890 · 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
Stacks of Wheat (End of Day, Autumn)
Claude Monet · 1890 · Art Institute of Chicago
Same movement · Impressionism
The Beach at Sainte-Adresse
Claude Monet · 1867 · Art Institute of Chicago
Same era · 1870s–1900s
Street in Moret
Alfred Sisley · 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
The Streetwalker
Henri de Toulouse-Lautrec · 1890 · The Metropolitan Museum of Art
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
Haymaking at Éragny
Camille Pissarro · 1892 · Art Institute of Chicago