Paul Gauguin’s monumental painting, Where Do We Come From? What Are We? Where Are We Going?, stands as a profound testament to the artist’s introspection and existential questioning. Created in 1897 during a period of intense personal turmoil and despair, this artwork is not merely a visual spectacle but a deeply philosophical inquiry into the very essence of human existence. Painted in Tahiti, far from the European art scene, this piece encapsulates Gauguin’s search for meaning and his contemplation of life’s biggest questions.
The Story Behind the Canvas: Gauguin’s Despair and Determination
The circumstances surrounding the creation of Where Do We Come From? What Are We? Where Are We Going? are as compelling as the painting itself. In December 1897, plagued by illness, financial hardship, and a sense of abandonment, Gauguin was driven to the brink of suicide. He envisioned this painting as his final artistic statement, a testamentary work before ending his life. Summoning his remaining strength, he embarked on creating this large canvas in a burst of fervent energy.
Gauguin himself described his state of mind and intentions in letters written after his suicide attempt failed. He saw the painting as a “philosophical work on this theme, comparable to the Gospels,” indicating the depth of thought and personal investment he poured into it. This context of near-death experience and profound reflection imbues the painting with a palpable sense of urgency and significance, making the question “where are we going?” particularly poignant.
A Detailed Look: Unpacking the Visuals of “Where Do We Come From?”
Gauguin provided a detailed description of the painting’s composition and symbolism, offering valuable insights into its layered meanings. He described the canvas as being structured with “two upper corners are chrome yellow, with an inscription on the left, and my name on the right, like a fresco on a golden wall with its corners damaged.” This framing device sets the stage for the allegorical scene unfolding within.
The right side of the painting depicts the beginning of life, with “a sleeping baby and three seated women.” Further along, “two figures dressed in purple confide their thoughts to each other,” representing the stage of young adulthood and contemplation. A central figure “picking fruit” suggests the sustenance and experiences of adult life. Throughout the scene, Gauguin includes elements of earthly existence – “Two cats near a child. A white goat” – grounding the philosophical inquiry in the tangible world.
Significantly, an “idol, both arms mysteriously and rhythmically raised, seems to indicate the Beyond.” This central idol becomes a key visual element, prompting the question of what lies beyond our earthly existence – “where are we going?”. A “crouching girl seems to listen to the idol,” suggesting humanity’s inherent curiosity about the unknown. Finally, “an old woman approaching death appears reconciled and resigned to her thoughts. She completes the story.” This figure represents the end of life’s cycle, bringing a sense of closure to the visual narrative, yet simultaneously intensifying the enigma of “where are we going?”. At her feet, “a strange white bird, holding a lizard in its claw [sic], represents a futility of words,” perhaps highlighting the limitations of language in answering life’s deepest mysteries.
The setting itself, “the bank of a stream in the woods. In the background the ocean, and beyond the mountains of a neighboring island,” creates a vast and timeless landscape. The colors, dominated by “blue and Veronese green,” with “naked figures stand out against it in bold orange,” contribute to the painting’s dreamlike and symbolic atmosphere.
Gauguin’s Vision: Meaning and Symbolism
Gauguin explicitly stated that his painting was a “philosophical work,” and he resisted literal interpretations, emphasizing the emotional and intuitive nature of his art. He described his method as working “from imagination, straight from the brush, on sackcloth full of knots and wrinkles,” highlighting the spontaneous and deeply personal process. He aimed to capture “the most intense emotions” and a “vision so clear, needing no correction,” suggesting a subconscious or inspired creation.
When considering “where do we come from?”, the painting offers visual cues in the figures of the baby and the young women, representing the dawn of life and the awakening of consciousness. “What are we?” is explored through the various figures engaged in different stages of life, contemplating their existence, interacting with nature, and seeking meaning. And “where are we going?” is most powerfully evoked by the idol and the old woman, prompting reflection on mortality, the spiritual realm, and the ultimate destiny of humankind.
Gauguin himself explained the idol is not a “literary explanation, but as a statue… it rules our primitive souls, the imaginary consolation of our suffering, vague and ignorant as we are about the mystery of our origin and our destiny.” This reinforces the idea that the painting is not intended to provide definitive answers but to provoke contemplation and evoke the profound mysteries of human existence, particularly the question of “where are we going?”.
Reception and Legacy: From Criticism to Masterpiece
Despite Gauguin’s deep personal investment and artistic conviction, the initial reception of Where Do We Come From? What Are We? Where Are We Going? was not universally laudatory. Critic Andre Fontainas, while sympathetic, found the painting lacking “any clear content,” stating, “There is nothing that explains the meaning of the allegory.”
Gauguin, in response, defended his work by emphasizing its “musical” and non-literary nature. He argued that the painting’s essence lies in “what is not expressed,” and that it is a “musical poem and needs no libretto.” He aimed to evoke feelings and suggest meanings through color, line, and form, rather than through explicit narrative or allegory.
Today, Where Do We Come From? What Are We? Where Are We Going? is widely celebrated as Gauguin’s magnum opus and a cornerstone of Post-Impressionism. Alongside Van Gogh’s The Starry Night, it is recognized as an iconic masterpiece that transcends its historical context and continues to resonate with viewers who grapple with the same fundamental questions about life, existence, and the enigmatic journey of human experience. The enduring power of the question “where are we going?” ensures the painting’s continued relevance and profound impact on art and viewers alike.
