Head of a Tahitian Woman

CC0 Public Domain Designation

Prints and Drawings

1891/93, with later additions 1894/95

Paul Gauguin
French, 1848-1903

Status: Currently Off View
Department: Prints and Drawings

Artist: Paul Gauguin
Title: Head of a Tahitian Woman
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1891–1893
Medium: Pen and brush and black ink, with green, blue, yellow and white gouache, over pen and brown ink and touches of graphite, on parchment
Inscriptions: Signed lower right, in pen and brown ink: "Gauguin"; inscribed along lower left edge, probably by Bernard, in pen and brown ink: "Reconnu de Paul Gauguin. Emile Bernard. 19"
Dimensions: 31.8 × 24.2 cm (12 9/16 × 9 9/16 in.)
Credit Line: Gift of Jamee and Marshall Field
Reference Number: 2021.336
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/220046/manifest.json

Wildenstein & Co., A Loan Exhibition of Paul Gauguin, for the Benefit of the New York Infirmary, with an essay by Raymond Cogniat (Wildenstein & Co., 1946), pp. 68–69, cat. 50 (ill.).
John Rewald, Paul Gauguin (Abrams, 1954), p. 3, pl. 3 (ill.).
Society of the Four Arts, Paul Gauguin, 1848–1903, exh. cat. (Society of the Four Arts, 1956), p. 22, cat. 36.
Robert Goldwater, Paul Gauguin (Abrams, 1957), p. 64 (ill.).
John Rewald, Gauguin Drawings, Bittner Art Book (T. Yoseloff, 1958), pp. 33–34, no. 76 (ill.).
Georges Wildenstein, Gauguin, L’art français 1 (Beaux-Arts, 1964), p. 172, under cat. 435.
Solomon R. Guggenheim Museum, Gauguin and the Decorative Style, exh. cat. (Solomon R. Guggenheim Foundation, 1966), n.pag.
Paul C. Nicholls, Gauguin (Tudor, 1967), p. 28; fig. 51.
Ronald Pickvance, The Drawings of Gauguin (P. Hamyln, 1970), title page (ill.); p. 34, pl. 71.
Elda Fezzi and Fiorella Minervino, “Noa Noa” e il primo viaggio a Tahiti di Gauguin (Rizzoli, 1974), p. 83, no. 64 (ill.).
Nicolas Wadley, Gauguin: 116 ouevres (SACELP, 1986), n.pag., fig. 56.
National Museum of Art, Tokyo, Paul Gauguin, exh. cat. (Tokyo Shimbun, 1987), p. 92, fig. 41.
Richard R. Brettell, Françoise Cachin, Claire Frèches-Thory, and Charles F. Stuckey, The Art of Paul Gauguin, with assistance from Peter Zegers, exh. cat. (National Gallery of Art, Washington, D.C./Art Institute of Chicago/New York Graphic Society Books, 1988), pp. 219–20, cat. 119 (ill.).
Assja Kanto-Gukowskaja, Paul Gauguin: In den Museen der Sowjetunion, with Anna Barskaja and Marina Bessonowa (Aurora-Kunstverlag, 1989), p. 65 (ill.).
Belinda Thomson, ed., Gauguin by Himself (Bullfinch, 1993), pp. 168, 307, fig. 130.
Anna Barskaya, Paul Gauguin: Mysterious Affinities, with Asya Kanto-Gukovskaya and Marina Bessonova (Parkstone Aurora, 1995), pp. 84, 86 (ill.).
Ziva Amishai-Maisels, Paul Gauguin: E l’avanguardia russa, exh. cat. (Artificio, 1995), p. 68 (ill.).
“Gauguin_Cat. 42 Head of a Tahitian Woman,” in Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago, ed. Gloria Groom and Genevieve Westerby (Art Institute of Chicago, 2016).

New York, Wildenstein and Company, “Paul Gauguin,” April 3-May 4, 1946, pp. 68-69, cat. 50 (ill.).
Palm Beach, Fla., The Society of the Four Arts, “Paul Gauguin,” February 4-March 4, 1956, p. 22, cat. 36.
New York, The Solomon R. Guggenheim Museum, “Gauguin and the Decorative Style,” June–September, 1966, n.p.
Washington, D.C., National Gallery of Art, “The Art of Paul Gauguin,” May 1-July 31, 1988, pp. 219-220, cat. 119 (ill.); traveled to The Art Institute of Chicago, September 17-December 11, 1988; traveled to Grand Palais, Paris, January 10-April 20, 1989.
Art Institute of Chicago, Gauguin: Artist as Alchemist, June 25–Sept. 10, 2017, pp. 198 and 207, cat. 137; also Paris, Réunion des musées nationaux - Grand Palais, Oct. 9, 2017–Jan. 21, 2018.

Mrs. Diego Suarez (aka Evelyn Marshall Field, 1888–1979), New York, by 1946–at least 1974 [New York 1946; Fezzi and Minervino 1974]; Jamee and Marshall Field, Chicago; given to the Art Institute of Chicago, 2021.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.