Pape moe

CC0 Public Domain Designation

Prints and Drawings

1893/94

Paul Gauguin
French, 1848-1903

Status: Currently Off View
Department: Prints and Drawings

Artist: Paul Gauguin
Title: Pape moe
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.: 1893–1894
Medium: Watercolor, with black fabricated chalk, pen and brown ink (originally purple) and touches of brush and black ink on heavily textured ivory wove paper
Inscriptions: Signed recto, lower right, in image, in pen and black ink: P / G / O
Dimensions: 35.4 × 25.5 cm (13 15/16 × 10 1/16 in.)
Credit Line: Gift of Emily Crane Chadbourne
Reference Number: 1922.4797
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/86308/manifest.json

Grafton Galleries exh: Grafton Galleries, Manet and the Post-Impressionists, exh. cat. (Ballantyne, 1910), no cat. no.3
Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, exh. cat. (n.p., 1913), p. 26, cat. 180.
Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, exh. cat. (n.p., 1913), n.pag, cat. 143.
Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, exh. cat. (Copley Society of Boston, 1913), n.pag., cat. 60.
“Accessions and Loans,” Bulletin of the Art Institute of Chicago 17, no. 1 (Jan. 1923), p. 11.
Rose Mary Fischkin, “Notes on Some Modern Drawings,” Bulletin of the Art Institute of Chicago 21, no. 3 (Mar. 1927), p. 36.
Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 91, cat. 874.
Oakland, Calif., Mills College Art Gallery, and the Seattle Art Museum, European Master Drawings of the Nineteenth and Twentieth Centuries, exh. cat. (n.p., 1939), n.pag., cat. 42.
Decatur (Ill.) Art Center, Masterpieces of European and American Art, exh. cat. (Decatur Art Center, 1945), p. 6, cat. 6.
Boston, Institute of Modern Art, 100 Modern Pictures, exh. cat. (Institute of Modern Art, 1945), n.pag., cat. 21.
Wildenstein & Co., A Loan Exhibition of Paul Gauguin, for the Benefit of the New York Infirmary, with an essay by Raymond Cogniat, exh. cat. (Wildenstein & Co., 1946), p. 68, cat. 45.
John Rewald, 19th Century French Drawings, exh. cat. (California Palace of the Legion of Honor, 1947), p. 85, cat. 138.
Art Center in La Jolla, Post Impressionists, exh. cat. (Art Center in La Jolla, 1955), cat. 46.
Beatrice Wilczynski, “European Paintings Exhibited in the 1913 Armory Show,” unpublished MS, 1995, p. 19, no. 143, pl. 2, no. 14 (ill.), Ryerson Library.
John Rewald, Gauguin Drawings, Bittner Art Book (T. Yoseloff, 1958), p. 30, pl. 53.
Art Institute of Chicago and Metropolitan Museum of Art, New York, Gauguin: Paintings, Drawings, Prints, Sculpture, exh. cat. (Art Institute of Chicago, 1959), pp. 69–70, cat. 109.
Jean Leymarie, Paul Gauguin Watercolours, Pastels and Drawings in Colour (Faber & Faber, 1961), p. 16, pl. 26 (ill.).4 Translated as Gauguin: Aquarelles, pastels et dessins (Skira, 1988), pp. 58–9 (ill.).
Santa Barbara (Calif.) Museum of Art, Painted Papers: Watercolors from Durer to the Present, exh. cat. (Santa Barbara Museum of Art, 1962), n.pag., cat. 46.
Merete Bodelsen, review of Paul Gauguin: Water-colours, pastels, and drawings in colour by Jean Leymarie, Burlington Magazine 105, no. 723 (June 1963), p. 285.
Munson-Williams-Proctor Institute, 1913 Armory Show: 50th Anniversary Exhibition, exh. cat. (Munson-Williams-Proctor Institute, 1963), p. 190, cat. 180.
Georges Wildenstein, Gauguin, with Raymond Cogniat and Daniel Wildenstein, vol. 1, Catalogue (Beaux-Arts, 1964), p. 202, under cat. 498.
University of Pennsylvania, University Museum, Gauguin and Exotic Art, exh. cat. (University Museum, 1969), p. 21, cat. 43.
Stockholm, Etnografiska Museet Nationalmuseum, Gauguin i Söderhavet, exh. cat. (Etnografiska Museet Nationalmuseum, 1970), pp. 70 (ill.); 88, cat. 29.
Richard S. Field, Paul Gauguin: Monotypes, exh. cat. (Philadelphia Museum of Art, 1973), pp. 48, n. 19, 148.
Harold Joachim and Suzanne Folds McCullagh, Dessins français de l’Art Institute de Chicago de Watteau à Picasso, exh. cat. (Secrétariat d’État à la Culture, Éditions des Musées Nationaux, 1976), n.pag., cat. 73 (ill.).
John Rewald, Post-Impressionism: From Van Gogh to Gauguin (Museum of Modern Art, New York, 1978), p. 493 (ill.).
Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century, vol. 2 (University of Chicago Press, 1979), p. 61, cat. 3F2 (ill.).
Yann Le Pichon, Sur les traces de Gauguin (R. Laffont, 1986), pp. 170, 261 (ill.). Translated by I. Mark Paris as Gauguin: Life, Art, Inspiration (Abrams, 1987), pp. 170, 263, fig. 327.
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. 344–45, cat. 184 (ill.).
Milton W. Brown, The Story of the Armory Show (Abbeville, 1988), p. 268, no. 180.
Nicholas Wadley, Impressionist and Post-Impressionist Drawing (L. King, 1991), pp. 230–31, fig. 74.
Ingo F. Walther, Paul Gauguin (1848–1903): The Primitive Sophisticate (Benedikt Taschen, 1992), p. 67 (ill.).
Andrew Martinez, “A Mixed Reception for Modernism: The 1914 Armory Show at the Art Institute of Chicago,” Art Institute of Chicago Museum Studies 19, no. 1 (1993), p. 40.
Belinda Thomson, ed., Gauguin by Himself (Bullfinch, 1993), pp. 190, 307, fig. 147.
Elizabeth C. Childs, “Paradise Redux: Gauguin, Photography, and Fin-de-Siècle Tahiti,” in The Artist and the Camera: Degas to Picasso, ed. Dorothy Kosinski, exh. cat. (Dallas Museum of Art, 2000), cat. 128, p. 139 (ill.)
Britt Salvesen, Gauguin, in association with Douglas W. Druick and Peter Kort Zegers, Artists in Focus (Art Institute of Chicago/Abrams, 2001), pp. 55, 89 (ill.); 109, no. 17.
Colta Ives and Susan Alyson Stein et al., The Lure of the Exotic: Gauguin in New York Collections, exh. cat. (Metropolitan Museum of Art, New York, 2002), p. 154, fig. 59.
Jean-Yves Tréhin, Gauguin, Tahiti et le photographie (Ministère de la Culture de Polynésie Française/Musée de Tahiti et des Îles, 2003), p. 116 (ill.).
Princeton Museum of Art, Gauguin’s Paradise Remembered: The Noa Noa Prints, exh. cat. (Princeton Museum of Art, 2010), pp. 86–87, fig. 28.
Anna Gruetzner Robins, “‘Manet and the Post-Impressionists’: A Checklist of Exhibits,” Burlington Magazine 152, no. 1293 (2011), p. 788.
Belinda Thomson, ed., Gauguin: Maker of Myth, exh. cat. (Tate Publishing, 2010), pp. 155; 170, fig. 107.
Tim Liardet, Madame Sasoo Goes Bathing (Shoestring, 2013), cover ill.

London, Grafton Galleries, Manet and the Post-Impressionists, Nov. 8, 1910–Jan. 15, 1911, no cat. no.
New York, 69th Regiment Armory, International Exhibition of Modern Art, Feb. 17–Mar. 15, 1913, cat. 180, as À La Source.
Art Institute of Chicago, International Exhibition of Modern Art, Mar. 24–Apr. 16, 1913, cat. 143, as At the spring.
Copley Society of Boston, International Exhibition of Modern Art, Apr. 28–May 19, 1913, cat. 60, as At the spring.
Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1–Nov. 1, 1933, cat. 874, as Tahitian Drinking from a Waterfall.
Oakland, Calif., Mills College Art Gallery, European Master Drawings of the Nineteenth and Twentieth Centuries, Feb. 19–Mar. 29, 1939, cat. 42, as Tahitian drinking from waterfall; Seattle Art Museum, Apr. 5–May 7, 1939.
Decatur (Ill.) Art Center, Masterpieces of European and American Art, Mar. 4–25, 1945, cat. 6, as Tahitian Drinking from a Waterfall; Springfield Art Association, Apr. 4–30, 1945.
Boston, Institute of Modern Art, 100 Modern Pictures, May 23–July 14, 1945, cat. 21, as Tahitian Drinking from Waterfall.
New York, Wildenstein & Co., A Loan Exhibition of Paul Gauguin, for the Benefit of the New York Infirmary, Apr. 3–May 4, 1946, cat. 45, as Tahitian Drinking from a Waterfall.
San Francisco, California Palace of the Legion of Honor, 19th Century French Drawings, Mar. 9–Apr. 16, 1947, cat. 138, as Tahitian Drinking from a Waterfall.
Art Center in La Jolla (Calif.), Post Impressionists, Aug. 7–Sept. 25, 1955, cat. 46, as Tahitian Drinking from a Waterfall.
Art Institute of Chicago, Gauguin: Paintings, Drawings, Prints, Sculpture, Feb. 12–Mar. 29, 1959, cat. 109, as Mysterious Water (Pape Moe); New York, Metropolitan Museum of Art, Apr. 21–May 31, 1959.
Santa Barbara (Calif.) Museum of Art, Painted Papers: Watercolors from Durer to the Present, Mar. 15–Apr. 15, 1962, cat. 46, as Tahitian Drinking from a Waterfall.
New York, Munson-Williams-Proctor Institute, 1913 Armory Show: 50th Anniversary Exhibition, Feb. 17–Mar. 31, 1963, cat. 180, as À la source; and the Armory of the 69th Regiment, New York, Apr. 6–28, 1963.
Philadelphia, University of Pennsylvania, University Museum, Gauguin and Exotic Art, 1969, cat. 43.
Stockholm, Etnografiska Museet Nationalmuseum, Gauguin i Söderhavet, 1970, cat. 29 (ill.).
Philadelphia Museum of Art, Paul Gauguin: Monotypes, Mar. 23–May 13, 1973, no cat. no.
Paris, Musée du Louvre, Dessins français de l’Art Institute de Chicago de Watteau à Picasso, Oct. 15, 1976–Jan. 17, 1977, cat. 73 (ill.); Frankfurt am Main, Städtische Galerie im Städelschen Kunstinstitut, Feb. 10–Apr. 10, 1977, cat. 74 (ill.).
Washington, D.C., National Gallery of Art, The Art of Paul Gauguin, May 1–July 31, 1988, cat. 184 (ill.); Art Institute of Chicago, Sept. 17–Dec. 11, 1988; Paris, Galeries Nationales du Grand Palais, as Gauguin, Jan. 10–Apr. 20, 1989.
Dallas Museum of Art, The Artist and the Camera: Degas to Picasso, Feb. 1–May 7, 2000, cat. 128; San Francisco Museum of Modern Art, Oct. 2, 1999–Jan. 4, 2000; Fundación del Museo Guggenheim, Bilbao, June 12–Sept. 10, 2000.
Tate Modern, London, Gauguin: Maker of Myth, Sept. 30, 2010–Jan. 16, 2011, cat. 107; National Gallery of Art, Washington, D.C., Feb. 27–June 5, 2011 (London only).
The Art Institute of Chicago, “Gauguin: Artist as Alchemist”, June 25 - September 10, 2017, pp. 195, 222, 224, cat. 162, cat. by Gloria Groom, et. al., traveled to Paris, Réunion des musées nationaux - Grand Palais, October 9, 2017 - January 21, 2018.

Emily Crane Chadbourne (1871–1964), London, by 1910 [Robins, “‘Manet and the Post-Impressionists’: A Checklist of Exhibits,” Burlington Magazine 152, no. 1293 (Dec. 2010), p. 788]; given to the Art Institute of Chicago, 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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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.