plate no. 3381

Where Do We Come From? What Are We? Where Are We Going?

oilPost-Impressionismgenre paintingfigureslandscapeanimalstropicalseated womenbird

what to study here

It shows how warm and cool flesh color can build figure separation and space without conventional modeling, within a dark, receding landscape.

The vision guide describes only a lower portion of the canvas: three seated women across the foreground, with dark mountains and cliffs behind and a pale pink-white sky above. The central figure is the warmest, brightest passage, painted in golden-orange. The figure on the left is greenish. Study how color temperature separates the figures instead of cast light: the guide says shadows are greenish and the left figure's skin is shifted cool, not shaded from one light source. Notice the three value masses against the darker landscape, with the darkest darks in the mountains and ground, the figures in the middle range, and the sky and the white bird lightest. Edges are described as outlined contours with broad, flat color in the flesh and slightly more broken handling in foliage and cliffs. Check how the eye moves from the central golden figure to the left figure. The recreation text adds that the work reads right to left, uses flat color areas with bold outlines, and carries inscriptions in the upper corners. Those points are general context, not observed here.

key decision

The painter shifts skin temperature between figures, golden-orange at center and greenish at left, instead of modeling form with directional light. Flat color zones with contour lines carry the form.

From the record

Dimensions: 139.1 cm high × 374.6 cm wide
Institution: Museum of Fine Arts Boston
Location: Museum of Fine Arts Boston
Inception: 1897
Materials: oil paint, canvas
Movement: Post-impressionism

cat
cult image
woman
bird

Wikipedia article Wikidata item Q890678

from the sources

The painting was created in Tahiti and is held by the Museum of Fine Arts in Boston, Massachusetts. en.wikipedia.org
“The painting was created in Tahiti and is in the Museum of Fine Arts in Boston, Massachusetts.”
The Museum of Fine Arts, Boston acquired the painting from the Marie Harriman Gallery on 16 April 1936. en.wikipedia.org
“The Museum of Fine Arts, Boston, acquired it from the Marie Harriman Gallery on 16 April 1936.”
Gabriel Frizeau bought the painting from Vollard in 1901 for 2,500 francs. en.wikipedia.org
“Gabriel Frizeau purchased the painting from Vollard for 2,500 francs in 1901.”
The painting was shown at the Galerie Vollard from 17 November to 10 December 1898. en.wikipedia.org
“They went on view at the Galerie Vollard from November 17 to December 10, 1898.”
The painting received mixed reviews when first exhibited, even though the exhibition itself was a success. en.wikipedia.org
“The exhibition was a success, although D'où Venons Nous? received mixed reviews.”
Critic Thadée Natanson of La Revue Blanche found the painting's meaning confusing and called it obscure. en.wikipedia.org
“Thadée Natanson of La Revue Blanche expressed confusion over its meaning, describing it as "obscure".”
Gauguin inscribed the original French title in the upper left corner of the canvas. en.wikipedia.org
“Gauguin inscribed the original French title in the upper left corner: D'où Venons Nous / Que Sommes Nous / Où Allons Nous.”
Gauguin signed the painting in the upper right corner and dated it 1897. en.wikipedia.org
“In the upper right corner, he signed and dated the painting: P. Gauguin / 1897.”

recreation guide

Paul Gauguin’s *Where Do We Come From? What Are We? Where Are We Going?* (1898) is a monumental Post-Impressionist work that synthesizes his mature style of Synthetism and Cloisonnism. The painting is distinctive for its panoramic composition, which reads from right to left, depicting the cycle of life: birth (represented by crouching women and a sleeping child), daily existence (young adulthood picking fruit in a Garden of Eden motif), and death (an old woman approaching death with a white bird representing the futility of words) (Source 1). The work is characterized by vivid, non-representational colors and thick brushstrokes intended to convey emotional strength rather than optical realism (Source 1). Gauguin approached the composition with a calculated, musical logic, aiming to create 'symphonies and harmonies' through the arrangement of lines and colors that stimulate the imagination without direct reference to vulgar reality (Source 4). The painting also features specific inscriptions: the title in the upper left corner and the signature/date in the upper right, both executed without question marks or dashes, with all words capitalized (Source 1).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (vivid, high-chroma pigments)	To achieve the 'vivid use of colors' and 'thick brushstrokes' characteristic of Gauguin's Post-Impressionist style	High-quality artist-grade oils (e.g., Cadmium Yellow, Ultramarine Blue, Vermilion)
Canvas (large format)	To support the monumental scale of the panoramic composition	Linen or cotton duck canvas, primed
Brushes (various sizes, including flat and filbert)	To apply thick impasto and define bold outlines	Natural or synthetic bristle brushes
Black pigment (for outlines)	To create the 'bold outlines' associated with Cloisonnism and Synthetism	Ivory Black or Mars Black
White pigment	For the inscription and the 'strange white bird'	Titanium White or Zinc White

preparation

surface prep

The surface should be prepared to accept thick applications of paint. While specific priming methods for this exact canvas are not detailed in the sources, Gauguin’s practice involved creating canvases with 'independent existence and vitality' (Source 4). A standard oil ground is appropriate. The artist’s later experiments with oil transfers involved layering, but for this oil painting, a stable, absorbent ground is recommended to support the 'thick brushstrokes' (Source 1).

underdrawing

Gauguin’s approach to drawing was calculated; he stated that 'every feature in my paintings is carefully considered and calculated in advance' (Source 4). While specific underdrawing techniques for this painting are not explicitly described, his style evolved from Cloisonnism, which uses 'bold outlines' to separate areas of pure color (Source 8). It is likely that a preliminary sketch defined the major forms and upright lines to 'clearly define shape and contour' (Source 4).

underpainting

Not explicitly described for this specific work. However, Gauguin’s move away from Impressionism involved eliminating 'subtle gradations of colour' (Source 8). An underpainting phase, if used, would likely have been tonal rather than chromatic, serving as a base for the subsequent application of flat, vivid colors.

color palette

Vivid Reds and Oranges

Cadmium Red, Vermilion, Yellow Ochre

General use in this artist's palette to achieve 'vivid use of colors' (Source 1)

Deep Blues

Ultramarine Blue, Cobalt Blue

The 'blue figure' in the background representing 'the Beyond' (Source 1)

Earthy Greens and Browns

Viridian, Raw Umber, Burnt Sienna

The natural environment and foliage, harmonizing man and nature (Source 4)

White

Titanium White

The 'strange white bird' at the feet of the old woman (Source 1) and the inscriptions (Source 1)

Black

Ivory Black

Bold outlines separating color areas, consistent with Cloisonnist influence (Source 8)

composition

The composition is panoramic and reads from right to left, reflecting the cycle of 'birth-sin-death' (Source 1). The right side features three crouched women and a sleeping child (birth); the center features a woman picking fruit in a 'Garden of Eden motif' (sin/daily existence); the left features an old woman approaching death (Source 1). A blue idol in the background represents 'the Beyond' (Source 1). The composition avoids exact bisections, with the prominent subjects distributed across the width. The artist used 'elaborate formal decoration and colouring in patterns of abstraction' to harmonize man and nature (Source 4). The inscriptions are placed in the upper corners: the title in the upper left and the signature/date in the upper right (Source 1).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Sketch the major forms and upright lines to clearly define shape and contour, ensuring the composition reads from right to left.
Tip — Ensure the 'blue idol' is placed in the background to represent 'the Beyond' (Source 1).
Calculated composition

first pass

step 02
Apply flat areas of vivid color, avoiding subtle gradations. Use analogous colors in close proximity to achieve muted effects where needed, but generally aim for high chroma.
Tip — Remember that Gauguin's colors had an 'independent existence and vitality' (Source 4).
Synthetism/Cloisonnism

refining

step 03
Define the figures with bold outlines, separating the areas of pure color. This technique is reminiscent of Cloisonnism.
Tip — Pay attention to the 'Garden of Eden motif' in the center and the 'domestic submission' symbols like the bracelet and collar on the left (Source 1).
Bold outlines
step 04
Add the 'strange white bird' at the feet of the old woman on the left, representing the 'futility of words' (Source 1).
Tip — Ensure the bird is distinct and white to contrast with the surrounding tones.
Symbolic detail

finishing

step 05
Inscribe the title 'D'où Venons Nous / Que Sommes Nous / Où Allons Nous' in the upper left corner and the signature 'P. Gauguin / 1897' in the upper right corner.
Tip — Use all capital letters, no question marks, and no dashes (Source 1).
Inscription
step 06
Apply thick brushstrokes to convey emotional or expressionistic strength, particularly in the background and foliage.
Tip — The painting is an 'accentuation of Gauguin's trailblazing Post-Impressionistic style' (Source 1).
Impasto

critical techniques

Synthetism

Neither form nor color predominates; each has an equal role. The artist aims to capture the 'soul of nature' and 'ancient truths' (Source 4).

Cloisonnism

Use of flat areas of color separated by heavy black outlines, reducing the image to essential forms (Source 8).

Symbolic Color

Colors are used non-representatively to create 'symphonies and harmonies' that stimulate the imagination (Source 4).

common pitfalls

→Attempting to model forms with subtle gradations of color, which Gauguin explicitly eliminated in his mature style (Source 8).
→Using representational colors that do not convey the 'emotional or expressionistic strength' intended by the artist (Source 1).
→Placing the inscriptions incorrectly or using punctuation (question marks/dashes) that Gauguin omitted (Source 1).
→Failing to arrange the composition to read from right to left, disrupting the narrative of 'birth-sin-death' (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 for this painting are not provided in the sources.
·The exact texture of the canvas ground is not described, though it is inferred to be standard for oil painting.
·Detailed brushwork techniques for specific figures (e.g., the 'two sorrowful women') are not explicitly described beyond general style notes.
·The specific proportions of the figures relative to the canvas size are not detailed.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- On Copying — applied to General advice on the importance of being a 'sound craftsman' and understanding the medium.

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Where Do We Come From? What Are We? Where Are We Going?↗
- Composition and Symbolism — applied to Describing the right-to-left narrative, specific figures (birth, sin, death), the blue idol, the white bird, and the inscriptions.
Wikipedia bio — Paul Gauguin↗
- Color and Composition — applied to Explaining the use of vivid colors, thick brushstrokes, calculated composition, and the goal of creating 'symphonies and harmonies'.
- Cloisonnism and Synthetism — applied to Describing the use of bold outlines, flat areas of color, and the elimination of subtle gradations.

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 label

6 dominant colors, measured

what the eye sees

Three seated women occupy the lower half of the canvas, arranged across the depth from left to right: a greenish-toned figure on the far left, a warm golden-orange figure at center (the compositional anchor), and a darker-clothed figure on the right. Behind them, the landscape rises sharply—dark mountains and cliffs in cool greens and teals occupy the upper third, while a pale pink-white sky sits between the figures' heads and the peaks. A white bird (dove-like) sits in the immediate foreground left, grounding the scene. The eye moves first to the central golden figure, then travels left to the contemplative greenish woman, creating a reading line that mirrors the philosophical tenor of the title.

value structure

The darks anchor in the background mountains and the ground plane (almost black in places), creating a strong spatial recession. The figures occupy the middle value range—their flesh tones in warm ochres and golds with greenish-toned shadows. The sky and bird are the lightest values, providing breathing room. When you squint, you see three distinct value masses in the foreground figures against a darker landscape, with the central golden figure as the brightest warm accent.

observed palette and mixes

#1e2326
Ultramarine + Burnt Sienna (nearly black), used for mountain shadows and deep background cliffs
Upper background, darkest landscape areas
#273237
Prussian Blue + Alizarin Crimson + touch of Ochre, for cool shadowed greens in the landscape
Mid-background mountains and foliage
#866e47
Yellow Ochre + Alizarin Crimson + Ultramarine, warm earthy brown for the ground plane
Ground beneath figures, base shadow tone
#b5afae
Titanium White + touch of Alizarin, pale cool pink-gray
Sky areas and pale highlights on figures
warm ochre/gold
Cadmium Yellow + Yellow Ochre + touch of Cadmium Red for central figure's skin
The central seated woman's torso and limbs—the brightest, warmest passage
muted green-ochre
Yellow Ochre + Cerulean Blue + Alizarin, greenish skin tone
Left figure's body, showing how Gauguin uses color temperature to model form rather than light direction

edges and brushwork

Edges are predominantly soft and outlined rather than modeled—the figures are drawn with visible contour lines rather than blended edges. Brushwork is visible but not aggressive; broad, flat applications of color dominate the flesh areas, while the background shows slightly more broken handling in the foliage and cliffs. There's no attempt at sfumato or fine blending; the post-Impressionist approach flattens the form through simplified color zones.

a working sequence

01
Establish the landscape foundation
Block in the entire background with muted cool tones—Prussian Blue, Cerulean, and Ochre mixed to make the dark teal-green mountains and the pale pink-white sky. Keep this loose; the landscape should feel atmospheric and recessive. Establish where the horizon line sits relative to the figures' heads.
02
Map the three main figures' positions and proportions
Lightly sketch the overall placement and basic anatomy of the three seated women across the canvas. Pay attention to their relative heights despite all being seated—the central figure sits slightly higher. This determines the spatial logic of the entire piece. Use loose charcoal or thinned paint for this underpainting.
03
Block in the central golden figure
Paint the central woman's skin tones with warm Cadmium Yellow-Ochre mixtures. This is your brightest warm note and the compositional anchor. Keep the forms simplified—broad strokes defining the torso, legs, and arms without anatomical detail. Leave the white cloth at her waist to establish contrast.
04
Paint the left contemplative figure with cool-shifted flesh
Use Yellow Ochre + Cerulean Blue to create the greenish skin tone of the left figure. Notice she's cooler and more muted than the central woman, but still within the ochre family—this is Gauguin using color to suggest shadow and psychological distance rather than directional light. Paint the white cloth behind her head.
05
Establish the foreground white bird and remaining figures
Paint the white dove-like bird in the lower left with Titanium White + touch of pale blue shadow. Block in the smaller seated figure on the right in darker, more muted tones, and any other figures visible in the middle distance. These serve as anchors for spatial depth.
06
Refine value relationships and add clothing details
Add the blue-white cloth around the central figure's waist and any other garment details. Strengthen the shadows on all figures using cooler mixes of Ultramarine + Alizarin rather than adding black. The shadows should be greenish or purplish, not gray, maintaining the color-modulation principle throughout.
07
Deepen the background and push spatial recession
Layer darker muted greens and teals into the mountains to make them recede. Soften edges between the figures and the background. Ensure the sky remains pale and light to provide atmospheric perspective against the darker landscape.
08
Final integration and edge refinement
Step back and check the overall value structure—does the foreground read clearly against the background? Clarify any soft contour lines around the figures and ensure the color temperature shifts between figures are readable. The painting should feel flat and decorative despite the recession implied by the landscape—this is the Post-Impressionist approach.

where studies of this painting go wrong

The skin tones are expressive rather than naturalistic—expecting realistic flesh tones will lead to over-correcting. The central figure's golden-orange and the left figure's greenish ochre are intentional color choices that shift based on Gauguin's emotional intent, not light direction.
Proportions and anatomy are simplified and sometimes distorted—don't fight this by refining anatomy too much. The figures should read as flattened, stylized forms that feel sculptural rather than photographic.
It's easy to make the background too dark or too detailed, which will flatten the spatial recession. The mountains must stay atmospheric and muted; they should recede rather than compete with the foreground figures.
The composition requires understanding how multiple seated figures relate across the canvas without strong directional lighting. Resist the urge to add modeling shadows to achieve dimensionality—use color temperature shifts instead.

measured difficulty