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

Where Do We Come From? What Are We? Where Are We Going? is a monumental allegorical painting by French Post-Impressionist artist Paul Gauguin. Created during his time in Tahiti, the work is considered his magnum opus and a philosophical summation of his artistic and spiritual quests. The large frieze-like composition depicts a cyclical narrative of life, death, and rebirth, populated by Tahitian figures and infused with symbolic elements drawn from Christianity, Buddhism, and indigenous mythology. It is now housed in the permanent collection of the Museum of Fine Arts, Boston.

Background and creation

The painting was conceived and executed during a period of profound personal crisis for Paul Gauguin following news of the death of his daughter Aline and his own failing health. Living in poverty in Punaauia on the island of Tahiti, he intended the work as a final testament before a planned suicide attempt. In a famous letter to his friend Charles Morice, Gauguin described the painting as a philosophical work surpassing all his previous efforts, composed in a state of extraordinary intensity. The physical creation was rapid, completed in under a month during 1897, though he continued to refine it into early 1898. The work synthesizes his experiences in French Polynesia, his rejection of European civilization, and his search for a primordial, spiritual paradise, influenced by his readings of Arthur Schopenhauer and exposure to Eastern philosophy.

Description and symbolism

The painting is read from right to left, presenting a narrative of the human condition. On the right, a sleeping infant and three young women represent birth and the dawn of life. The central group features figures in various stages of daily activity, symbolizing the adulthood and existential questioning embodied by the central figure picking fruit, which alludes to the Tree of Knowledge in the Garden of Eden. A monumental idol in the background, inspired by Gauguin's observations of Polynesian and Javanese art seen at the 1889 Exposition Universelle, represents the artist's syncretic deity. On the left, an elderly woman approaching death is accompanied by a strange white bird, which Gauguin described as the "futility of words." The color palette is deliberately non-naturalistic, with lush blues, yellows, and violets creating a dreamlike, symbolic landscape. The entire scene is set against a backdrop of the sea and the mountains of Moorea, merging the specific location with universal themes.

Critical reception and legacy

Initially, the painting was met with bewilderment and criticism when Gauguin sent it to his Paris dealer Ambroise Vollard, as its radical composition and philosophical ambition confounded contemporary audiences accustomed to Impressionism. However, it was later championed by avant-garde circles and became a foundational work for emerging modern movements like Symbolism and Primitivism. Its influence is evident in the works of later artists such as Pablo Picasso during his African period and Henri Matisse. The painting's profound philosophical questions have made it a key subject of analysis for art historians including Meyer Schapiro and scholars of modernism. It is frequently cited as a precursor to twentieth-century artistic explorations of myth, spirituality, and existential inquiry, solidifying Paul Gauguin's legacy as a pivotal figure in the transition to modern art.

Provenance and exhibition history

After remaining with Ambroise Vollard in Paris, the painting was acquired by French collector Gabriel Frizeau. It entered the collection of the Museum of Fine Arts, Boston in 1936 through the Tompkins Collection, becoming a cornerstone of their Post-Impressionist holdings. It has been featured in major retrospective exhibitions on Paul Gauguin at institutions worldwide, including the Grand Palais in Paris, the Art Institute of Chicago, and the National Gallery of Art in Washington, D.C.. The painting's travel has been limited in recent decades due to its size, age, and fragility, making its permanent display in Boston a significant destination for scholars and the public. Its provenance and conservation history are well-documented, contributing to its status as one of the most studied and revered works of the late 19th century.

Category:1897 paintings Category:Paintings by Paul Gauguin Category:Paintings in the Museum of Fine Arts, Boston Category:Post-Impressionist paintings