Seated Tahitian Youth

CC0 Public Domain Designation

Prints and Drawings

1894/1903

Paul Gauguin
French, 1848-1903

Status: Currently Off View
Department: Prints and Drawings

Artist: Paul Gauguin
Title: Seated Tahitian Youth
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.: 1894–1903
Medium: Watercolor and graphite on irregularly shaped cream wove Japanese paper, laid down on ivory laid paper with brown and blue fibers, laid down on cream wove paper
Dimensions: 237 × 157 mm (primary support); 352 × 227 (secondary support); 451 × 312 (tertiary support)
Credit Line: Gift of Emily Crane Chadbourne
Reference Number: 1922.4796
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/5515/manifest.json

“Accessions and Loans,” Bulletin of the Art Institute of Chicago 17,1 (Jan. 1923), p. 11.
Rose Mary Fischkin, “Notes on Some Modern Drawings,” Bulletin of the Art Institute of Chicago 21,3 (Mar. 1927), p. 36.
Beatrice Wilczynski, European Paintings Exhibited in the 1913 Armory Show (Chicago, 1955), p. 18, no. 141, pl. II, no. 17 (ill.).
Munson-Williams-Proctor Institute, 1913 Armory Show: 50th Anniversary Exhibition, exh. cat. (Utica, NY, 1963), p. 190, no. 178.
Harold Joachim and Sandra Haller Olsen, The Art Institute of Chicago: French Drawings and Sketchbooks of the Nineteenth Century 2 (Chicago, 1979), p. 58, cat. 3E6.
Milton W. Brown, The Story of the Armory Show (Washington D.C., 1988), p. 268-269, no. 178.
Colta Ives and Susan Alyson Stein, et. al., The Lure of the Exotic: Gauguin in New York Collections, exh. cat. (New York, 2002), p. 154, fig. 59.
Anna Gruetzner Robins, “Manet and the Post-Impressionists’: a Checklist of Exhibits,” in The Burlington Magazine (London, 2010), vol. 152, no. 1293, p. 788.
Francisco Durrio (1868-1940): Sobre las Huellas de Gauguin, exh. cat. (Bilbao, 2013), p. 208. no. 3 (ill.).

London, Grafton Galleries, Manet and the Post-Impressionists, Nov. 8, 1910–Jan. 15, 1911, no cat. no.
New York, 69th Regiment Armory, Association of American Painters and Sculptors, “International Exhibition of Modern Art,” February 17–March 15, 1913, p. 26, cat. 178.
The Art Institute of Chicago, “International Exhibition of Modern Art,” March 24-April 16, 1913, cat. 141.
Boston, Copley Hall, “International Exhibition of Modern Art,” April 28-May 19, 1913, cat. 58.
The Art Institute of Chicago, “A Century of Progress Exhibition of Paintings and Sculpture,” June 1–November 1, 1933, p. 91, cat. 873.
New York, Wildenstein and Company, “Paul Gauguin,” April 3-May 4, 1946, p. 68, cat. 44.
The Art Institute of Chicago, September 27, 1993-January 18, 1994.
Tate Modern, London, “Gauguin: Maker of Myth,” September 30, 2010–January 16, 2011, pp. 205, 210, fig. 140, shown only in London, cat. by Belinda Thompson, ed.

Francisco “Paco” Durrio (1868-1940), Paris. Emily Crane Chadbourne, Chicago, by 1913 [New York 1913]; given to the Art Institute, 1922.

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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.