plate no. 0531
Vision After the Sermon
Paul Gauguin, 1888
what to study here
It shows how one flat red field, a diagonal divider, and a change in edge handling can separate ordinary figures from a vision on a single canvas.
Start with the structure: a dark tree trunk cuts the canvas on a diagonal, putting the Breton women in white coifs and dark clothing at lower left and the wrestling figures at upper right. The trunk works as a gate between two zones, so keep its silhouette solid and its edge against the women crisp. The red ground is the second thing to study. It is laid in flat, as a field of color rather than modeled earth, and the vision guide reads it as the source of light, with no external light falling on the scene. Notice how that one mid-value red pushes the darker figures forward. Check the value structure by squinting: darkest darks in the trunk and navy dresses, lightest lights in the coifs and the wrestler's pale leg. Then compare edges. The women's profiles and the trunk are firm and volumetric, while the wrestlers in yellow and blue are looser, more gestural and flatter. That shift in handling is what separates the observed group from the imagined one. Brushstrokes stay visible and are never smoothed into detail.
key decision
Gauguin laid the red ground in as a flat, non-naturalistic field and divided the canvas with a diagonal trunk, so the women and the vision occupy separate zones of different handling.
From the record
- Dimensions
- 72.2 cm high × 91 cm wide
- Institution
- National Galleries Scotland
- Location
- Scottish National Gallery
- Inception
- 1888
- Materials
- oil paint, canvas
- Movement
- Pont-Aven School
- pardon
- folk costume of Brittany
from the sources
The painting is in the Scottish National Gallery in Edinburgh. en.wikipedia.org
“It is now in the Scottish National Gallery, Edinburgh.”
Gauguin painted the work in Pont-Aven, Brittany. en.wikipedia.org
“It was painted in Pont-Aven, Brittany, France.”
The painting shows the biblical scene of Jacob wrestling an angel, presented as a vision seen by women after a church sermon. en.wikipedia.org
“It depicts this indirectly, through a vision that the women depicted see after a sermon in church.”
Gauguin used large areas of flat color, and the red ground departs from conventional depiction of earth or grass. en.wikipedia.org
“He applies large areas of flat color to the composition, and the red ground departs from the conventional representation of earth, field, or grass.”
A tree trunk placed diagonally through the center separates the Breton women from their vision of the angel and Jacob. en.wikipedia.org
“By sectioning the image this way, he creates a visual separation between the Breton women and their vision of an angel wrestling with Jacob.”
Gauguin used distorted shapes and strong contour lines instead of gradual tonal shifts when depicting the watching figures. en.wikipedia.org
“In portraying the watching figures Gauguin experiments with the distortion of shapes, exaggerating features, and use of strong contour lines rather than gradual shifts in tone that most painters practiced.”
The painting marked Gauguin's interest in interpreting religious subject matter in a highly personal way, following Émile Bernard's example. en.wikipedia.org
“Following Bernard's example but developing it further, Gauguin painted Vision After the Sermon, which marked his interest in interpreting religious subject matter in a highly personal way.”
The story of Jacob wrestling the angel comes from Genesis 32:22-31. en.wikipedia.org
“The tale of Jacob wrestling an angel is from Genesis 32:22-31 in the Old Testament.”
recreation guide
Vision After the Sermon (1888) marks a pivotal moment in Paul Gauguin’s career, representing his transition from Impressionism to Synthetism and Cloisonnism. The work is distinctive for its rejection of naturalistic representation in favor of symbolic abstraction. Gauguin employs large areas of flat, non-naturalistic color—most notably a vivid red ground that departs from conventional depictions of earth or grass—and bold, strong contour lines rather than gradual tonal shifts (Source 1). The composition is structured by a diagonal tree trunk that visually separates the Breton women in the foreground from their vision of Jacob wrestling an angel in the background, a layout influenced by Japanese woodblock prints owned by the artist (Source 1). This piece exemplifies Gauguin’s desire to express the essence of objects through simplified forms and pure color, moving away from the subtle gradations characteristic of post-Renaissance painting (Source 6).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Linseed oil base) | Primary medium for the painting | Standard tube oil paints; linseed oil is the most general-purpose drying oil (Source 7) |
| Canvas or panel | Support for the oil paint | Primed linen or cotton canvas |
| Brushes (flat and filbert) | Applying flat areas of color and defining bold outlines | Synthetic or natural hair brushes suitable for oil |
| Palette knife | Mixing paints and potentially applying thick, flat layers | Standard palette knife |
| Solvent (Turpentine or Odorless Mineral Spirits) | Thinning paint and cleaning brushes | Standard oil painting solvent |
preparation
surface prep
While specific surface preparation for this exact canvas is not detailed in the sources, Gauguin’s move toward Synthetism involved a departure from traditional academic grounds. The artist likely used a standard primed canvas, but the focus should be on ensuring the surface is smooth enough to allow for the application of flat, unmodulated color fields without texture interfering with the bold outlines (Source 6).
underdrawing
Gauguin’s style in this period emphasizes strong contour lines and flat color, suggesting that the underdrawing may have been minimal or integrated directly into the first layer of paint to define the 'cloisonné' compartments. Sources note he used 'strong contour lines rather than gradual shifts in tone' (Source 1), implying the line work is a primary structural element, possibly drawn directly in paint.
underpainting
The sources do not describe a traditional grisaille or tonal underpainting for this work. Instead, Gauguin applies 'large areas of flat color' directly (Source 1). The technique relies on the juxtaposition of pure colors rather than building form through shadow and light in an underlayer.
color palette
Vivid Red
Pure red pigment (e.g., Cadmium Red or Vermilion)
The ground/background, departing from conventional earth tones (Source 1)
Black
Black pigment (e.g., Ivory Black)
The garments of the women and the bold contour lines (Source 1, Source 6)
White
White pigment (e.g., Zinc White or Titanium White; historically Lead White was common but toxic)
The hats of the women (Source 1)
Brown
Brown pigment (e.g., Burnt Umber)
The tree trunk (Source 1)
Green/Blue
Cool tones for the angel and Jacob
The vision scene, contrasting with the red ground
composition
The composition is structured by a diagonal tree trunk placed through the center, which sections the image to create a visual separation between the Breton women and their vision (Source 1). The curve of the trunk follows the line of the head of the center-most figure, while branches shoot toward the upper right corner to frame the angel and Jacob (Source 1). The perspective is purposely skewed, with figures clustered in diminished sizes along the left edge (Source 1). This layout reflects the influence of Japanese prints, particularly the diagonal placement seen in works by Hiroshige (Source 1).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Sketch the diagonal tree trunk and the placement of the figures lightly. Ensure the trunk divides the canvas into two distinct zones: the foreground women and the background vision.
Tip — Focus on the diagonal line as the primary organizing element (Source 1).
Compositional structuring
first pass
step 02
Apply the large area of flat red color to the background/ground. Do not attempt to model the earth with greens or browns; use a single, bold hue.
Tip — Avoid shading; the red should be flat and uniform (Source 1).
Non-naturalistic color application
step 03
Paint the tree trunk in brown and the women’s garments in black. Use minimal color shading, relying on the flatness of the color to define form.
Tip — Eliminate subtle gradations of color to dispense with post-Renaissance principles (Source 6).
Cloisonnism/Flat color
refining
step 04
Define the figures with strong, bold contour lines. Exaggerate features and distort shapes slightly to move away from naturalism toward symbolic representation.
Tip — Use lines to separate color fields, reminiscent of cloisonné enameling (Source 6).
Bold outlines/Contour lines
step 05
Paint the vision of Jacob and the angel in the upper right, framed by the branches. Use contrasting colors to distinguish this spiritual realm from the red foreground.
Tip — Ensure the vision is visually separated by the tree trunk (Source 1).
Symbolic color contrast
finishing
step 06
Review the composition for balance. Ensure the clustering of people on the left edge creates the intended skewed perspective.
Tip — Check that the diagonal trunk effectively frames the main subjects (Source 1).
Perspective manipulation
critical techniques
Cloisonnism
Painting with flat areas of color separated by heavy black outlines, reminiscent of medieval cloisonné enameling. This technique eliminates subtle gradations of color and classical perspective (Source 6).
Synthetism
A style where neither form nor color predominates, but each has an equal role. It involves interpreting subject matter in a highly personal, symbolic way rather than naturalistically (Source 5).
Japanese Print Influence
Use of diagonal compositions, flat color planes, and bold outlines inspired by Hiroshige and Hokusai. This includes the non-naturalistic landscape and the framing of subjects (Source 1).
common pitfalls
- →Attempting to model the figures or landscape with realistic shading and perspective, which contradicts Gauguin’s goal of moving away from naturalism (Source 1).
- →Using green or brown for the ground instead of the bold, non-naturalistic red specified in the sources (Source 1).
- →Failing to use strong contour lines, resulting in a muddy appearance rather than the crisp, cloisonné-like separation of colors (Source 6).
- →Ignoring the diagonal structural element of the tree trunk, which is crucial for separating the two narrative planes (Source 1).
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 pigment recipes used by Gauguin in 1888 are not provided; modern equivalents are suggested.
- ·The exact brushwork texture (e.g., visible brushstrokes vs. smooth application) is not detailed in the sources, though 'bold manner of handling paint' is mentioned (Source 1).
- ·The specific proportions of the figures and the exact facial expressions are not described in detail, requiring reliance on visual reference of the original artwork rather than textual description.
- ·The varnishing process and final protective layers are not covered in the provided sources.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Vision After the Sermon↗
- Composition and technique — applied to Color choices, compositional structure, and influence of Japanese prints
- Background — applied to Context of Synthetism and departure from Impressionism
Wikipedia bio — Paul Gauguin↗
- Part 6 — applied to Cloisonnism technique and rejection of post-Renaissance principles
Wikipedia: Oil painting↗
- Part 4 — applied to Materials and medium characteristics
Read more about the corpus on the sources page and how the guides are built on the methods page.
read from the painting
observed from the image, not the label6 dominant colors, measured
what the eye sees
The composition is bisected diagonally by a massive dark brown tree trunk that divides the canvas into two distinct zones: the lower left holds Breton women in white coifs and dark clothing gathered in prayer or contemplation, while the upper right shows the biblical vision—two figures wrestling in bold yellows and blues against a glowing red sky. The eye enters at the clustered heads on the left, then is pulled across the red ground toward the wrestling figures above. Light seems to emanate from the red ground itself rather than from any external source, creating an otherworldly, visionary atmosphere.
value structure
The darkest values cluster in the tree trunk and the deep navy-blue clothing of the women; mid-tones anchor the flesh, white coifs, and green foliage; the lightest lights are the crisp white of the bonnets and the pale flesh of the wrestler's leg in the upper right. Squint and you'll see the red ground acts as a unifying mid-value that pushes the darker figures forward. There's a clear separation: cool deep darks below, luminous warm reds and pale highlights above.
observed palette and mixes
#8a3c1e
Raw umber + vermillion, heavily weighted to umber
The tree trunk and its shadow areas; darkest local color
#c84c1a
Vermillion + raw umber in equal measure
Mid-tone brown in the tree's interior branches and some jacket shadows
c73d2d
Vermillion with touch of ultramarine to grey it slightly
The dominant red ground—mix enough to cover large areas; this is the emotional core
#cdcab5
Titanium white + raw umber + touch of ultramarine
The white coifs and the wrestler's pale leg; off-white, slightly warm
#2a4a7a
Ultramarine blue + raw umber, heavy on ultramarine
The dark navy dresses and the wrestler's blue robe
#d4a93a
Vermillion + titanium white + touch of raw umber for ochre warmth
The yellow garments and hat of the wrestler on the right—vibrant, almost acidic
#5a7a3a
Ultramarine + raw umber + touch of vermillion
The dark foliage at top and the greenish-brown tree canopy
edges and brushwork
Gauguin uses both hard and soft edges selectively—the tree trunk and the women's profiles have sharper, more defined edges that read as solid forms, while the wrestling figures above are looser and more gestural, with softer transitions between the yellow and blue clothing. The red ground is applied flatly and boldly, almost as a field of color rather than modeled; this flatness contrasts with the more volumetric handling of the figures' flesh and drapery below. Brushstrokes follow the form but never disappear into detail—they remain visible and declarative.
a working sequence
- 01
Tone the canvas and establish the red ground
Mix your red: vermillion + raw umber leaning heavily toward the warm side. Using your #8 flat, block in the entire upper two-thirds and the right side of the canvas with this red. Work in loose, confident strokes—this isn't about precision yet. The red should feel like the emotional temperature of the whole work from the start.
- 02
Paint the tree trunk mass
Mix a deep warm brown from raw umber + vermillion (umber dominant). Using your #8 flat, establish the thick trunk that diagonals from upper left to lower right. Keep edges relatively crisp on the side facing the women; the back edge can soften into the foliage. Don't worry about detail—this is a bold shape dividing the picture.
- 03
Block in the women's heads, coifs, and dark dresses
Using your #4 flat, map the cluster of women on the lower left with their white coifs (titanium white + touch of raw umber) and dark navy dresses (ultramarine + raw umber). Keep faces simple and somewhat abstracted—three or four flesh tones (white + raw umber + touch of ultramarine in varying ratios) are enough. The white of the coifs should pop against both the red ground and the dark clothing.
- 04
Paint the wrestling figures and their garments
In the upper right, block in two figures: one in yellow (vermillion + white + touch of raw umber for warmth) with a yellow hat, the other in deep blue (ultramarine + raw umber). Keep the wrestler's pale leg (white + hint of raw umber) prominent—it's one of your lightest lights and anchors the vision spatially. Don't overwork; these figures read more as color gestures than fully modeled forms.
- 05
Establish the foliage and sky transition
Using your #4 flat, add dark greenish-brown foliage (ultramarine + raw umber + touch of vermillion) above and around the tree, especially in the upper left. Let some red ground show through or peek out at the edges. The foliage should feel subordinate to both the tree and the red—it's atmospheric, not detailed.
- 06
Refine flesh tones and coif highlights
Using your #2 round, add lighter accents to the women's faces: higher cheekbones, nose planes, and the edges of the coifs with near-white (titanium white + tiny touch of raw umber). Keep these strokes deliberate and few—suggestive rather than complete. The coifs should feel crisp and sculptural.
- 07
Deepen shadows and create spatial separation
Using your #4 flat, deepen the shadows in the women's clothing and under the tree with ultramarine + raw umber, especially where they meet the red ground. Add shadow across some of the red ground where the tree and figures cast them. This pushes the women forward and clarifies the visionary space of the red ground and wrestling figures above.
- 08
Final accents and edge refinement
Using your #2 round with pure or near-pure colors, sharpen the most important edges: the profile of the nearest woman's coif, the outline of the wrestler's yellow hat, the edge of the tree where it meets the women. Leave other edges soft. A few high-value touches on the white areas (pure titanium white) will read as final light. Step back often—this painting works as a bold color relationship more than as finished detail.
where studies of this painting go wrong
- Treating the red ground as a background rather than a dominant, active color—it's not empty space, it's the visionary realm itself. Keep it confident and warm throughout.
- Overworking the wrestling figures with anatomical detail; they should feel symbolically abstracted and flattened, almost like cutouts against the red. Let the bold color do the work.
- Making the white coifs too pure white too early; they need the context of the surrounding colors to sing. Add them last, in selective accents.
- Softening the tree trunk or making it feel thin; this is a structural anchor. Keep it solid, dark, and present, with a clear silhouette against the red.
- Losing the value separation between the women's dark cluster and the brightly lit visionary zone; the tree trunk should feel like a gate between two distinct worlds.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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