plate no. 5149
Tahitian mountains
Paul Gauguin, 1893
recreation guide
Paul Gauguin’s *Tahitian Mountains* (1893) is a landscape executed in the style of Cloisonnism, a method characterized by flat areas of pure color separated by bold, heavy outlines. This approach rejects the subtle gradations of color and classical perspective typical of post-Renaissance painting, instead seeking to express the 'soul of nature' and ancient truths through calculated arrangements of line and color (Source 2, Source 5). The work likely employs the 'harmony of contrast,' where colors are intensified by their juxtaposition with complementary tones or broken with grey to avoid monotony while maintaining distinctness (Source 1). Gauguin’s practice during this period involved treating the subject as a pretext for creating visual symphonies, prioritizing emotional purity and formal decoration over realistic representation (Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (pure pigments) | To create flat areas of intense, non-representational color. | High-quality artist-grade oils (e.g., Cadmium Red, Ultramarine Blue, Yellow Ochre). |
| Black pigment (e.g., Ivory Black or Lamp Black) | To create the heavy, defining outlines characteristic of Cloisonnism. | Ivory Black or Mars Black. |
| Canvas | Support for the oil medium. | Linen or cotton canvas, primed. |
| Turpentine | Thinner for initial layers and cleaning brushes. | Odorless mineral spirits or pure turpentine. |
| Earth pigments (Ochres, Umbers) | For broken tones and grounding colors, as suggested by historical palettes. | Yellow Ochre, Raw Umber, Burnt Sienna. |
preparation
surface prep
The canvas should be prepared with a standard white or off-white ground to allow for the full intensity of the oil colors. Gauguin’s move away from Impressionism involved a rejection of the 'illusion of natural appearances' in favor of painted symbols; thus, the surface should be smooth enough to support flat color application but not so glossy as to prevent the adhesion of bold outlines (Source 6).
underdrawing
Gauguin’s works in this style often show little evidence of traditional preparatory sketching visible in the final layer, as the bold outlines serve as the primary structural element. However, a light charcoal or thin wash underdrawing may be used to establish the 'major forms and upright lines' that define shape and contour, consistent with his emphasis on compositional austerity (Source 2, Source 7).
underpainting
An underpainting is likely not required in the traditional tonal sense, as Cloisonnism relies on flat color. However, a thin wash of raw umber or grey may be used to block in large areas if 'broken tones' are needed to avoid crudity, as advised in color theory texts referenced by Gauguin’s contemporaries (Source 1, Source 8).
color palette
Intense Primary/Secondary Colors
Pure pigments (e.g., Cadmium Yellow, Cobalt Blue, Vermilion).
Flat areas of color to create 'symphonies and harmonies' independent of reality (Source 2).
Black
Pure black pigment.
Heavy outlines separating color fields, reminiscent of cloisonné enameling (Source 5).
Grey/Broken Tones
Colors mixed with grey or earth tones.
Remote planes or to avoid monotony while maintaining distinctness (Source 1).
Complementary Colors
Pairs like Red/Green, Blue/Orange.
Juxtaposed to increase the brilliancy of each other through contrast (Source 4).
composition
The composition likely emphasizes 'major forms and upright lines' to clearly define shape and contour, avoiding subtle gradations (Source 2). Gauguin characteristically eliminated classical perspective, focusing instead on the arrangement of lines and colors to stimulate the imagination rather than depict reality (Source 2, Source 5). The landscape elements are likely reduced to essential shapes, harmonizing man and nature through elaborate formal decoration (Source 2).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Sketch the major forms of the mountains and landscape using light lines. Focus on the outline and mass rather than detail, ensuring upright lines define the shape clearly.
Tip — Do not worry about minor details; the focus is on the outlined shape (Source 7).
Contour drawing
first pass
step 02
Apply flat areas of pure color to the main sections of the landscape. Use intense colors without blending or shading, treating the color as having an independent existence.
Tip — Avoid subtle gradations; the color should be uniform within each defined area (Source 5).
Cloisonnism
refining
step 03
Apply heavy black outlines around the color fields to separate them. This mimics the cloisonné enameling technique and defines the contours sharply.
Tip — Ensure the lines are decisive and do not waver, as they replace traditional modeling (Source 5).
Bold Outlining
step 04
Adjust colors based on the law of contrast. If a color appears too crude, mix it with grey or use lighter tones. If a color needs more brilliancy, ensure it is surrounded by its complementary color.
Tip — Red beside blue verges on orange; use this optical effect to enhance vibrancy without changing the pigment (Source 4).
Harmony of Contrast
finishing
step 05
Review the overall harmony. Ensure that the arrangement of lines and colors creates a 'symphony' that stimulates the imagination rather than merely depicting the landscape.
Tip — Check that the work does not attempt to deceive the eye with illusionistic depth (Source 6).
Synthetism/Cloisonnism
critical techniques
Cloisonnism
Using flat areas of pure color separated by heavy black outlines, rejecting classical perspective and subtle gradations (Source 5).
Law of Contrast
Juxtaposing complementary colors to increase brilliancy, or using grey to break tones and avoid monotony (Source 1, Source 4).
Non-representational Color
Using color for its own vitality and to create harmonies, rather than to mimic surface reality (Source 2).
common pitfalls
- →Attempting to blend colors or create realistic shading, which contradicts the Cloisonnist style (Source 5).
- →Using colors that are too crude or intense without balancing them with grey or complementary contrasts (Source 1).
- →Focusing on realistic perspective instead of the arrangement of lines and colors for emotional effect (Source 2, Source 5).
- →Putting down paint with obvious errors in construction, as correcting in paint is fatal to lucidity (Source 8).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific color choices for *Tahitian Mountains* are not detailed in the sources; the guide relies on Gauguin’s general palette and Cloisonnist principles.
- ·The exact composition of the mountains (e.g., specific shapes, presence of figures) is not described in the sources, so the guide focuses on general compositional habits.
- ·Specific brush types or stroke techniques are not detailed, though the emphasis is on flat application.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- Harmony of Contrast — applied to Color mixing and contrast adjustments.
The Science of Painting↗
- The Laws of Colouring — applied to Optical effects of complementary colors.
The Practice of Oil Painting↗
- Painting from Life — applied to Warning against correcting errors in paint.
The Practice and Science of Drawing↗
- Materials — applied to Philosophy of medium and avoiding illusionism.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Paul Gauguin — part 25↗
- Artistic evolution — applied to Overview, color philosophy, and rejection of realism.
Wikipedia bio — Paul Gauguin — part 6↗
- Cloisonnism — applied to Technique of flat color and bold outlines.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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