Fatata te Miti (By the Sea)

Provenance

(Gauguin sale, Paris, 18 February 1895, no. 27, bought in); Paul Gauguin; possibly sold 1895 to (Ambroise Vollard [1866-1939], Paris). William Molard, 1897. George Daniel de Monfreid [1856-1929]; sold 7 June 1898 to Ernest Rouart [1874-1942], Paris.[1] (Galerie L. Dru, Paris); sold 1928 to Louis L. Horch [d. 1979], New York;[2] sold 11 June 1928 to Chester Dale [1883-1962], New York; bequest 1963 to NGA. [1] Assuming this is the painting referred to in the chronology published in _Gauguin: Tahiti_, Exh. cat., Galerie nationales du Grand Palais, Paris; Museum of Fine Arts, Boston, 2004: 347. The painting was lent by Ernest Rouart to the 1906 Salon d'Automne. Ernest was the son of collector Henri Rouart and inherited with his siblings his father's collection. The collection was dispersed at auctions in Paris in 1912 and 1913, none of which included this Gauguin. Neither was it included in an anonymous sale of some of Ernest Rouart's collection held 22-23 March 1918 in Paris. [2] Horch was the financial backer of the first Roerich Museum on Riverside Drive, New York City, that existed between 1924-1938. Chester Dale's papers, copy in NGA curatorial files, record the Roerich Museum as his source for the Gauguin, but this is crossed out and Horch written in.

Fatata te Miti (By the Sea)

Gauguin, Paul

1892

Accession Number

1963.10.149

Medium

oil on canvas

Dimensions

overall: 67.9 x 91.5 cm (26 3/4 x 36 in.) | framed: 92.4 x 114.9 x 10.1 cm (36 3/8 x 45 1/4 x 4 in.)

Classification

Painting

Museum

National Gallery of Art

Washington, D.C., United States

Credit Line

Chester Dale Collection

Tags

Painting Impressionist & Modern (1851–1900) Oil Painting Canvas French

Background & Context

Background Story

Fatata te Miti (By the Sea), painted in 1892, belongs to Gauguin's first Tahitian period - the two years he spent in the South Pacific after abandoning his family and career in France. The painting depicts two Tahitian women on a beach, one walking into the water, the other seated on the sand. The lush tropical landscape, the vivid colors, and the women's uncovered bodies evoke an image of unspoiled, prelapsarian paradise. Yet the painting is more complex than its surface beauty suggests. Gauguin arrived in Tahiti in 1891 hoping to find an untouched primitive culture. What he found instead was a French colony already transformed by missionaries, commerce, and disease. His Tahitian paintings are thus not documents of reality but constructions of an ideal - visions of a world that Gauguin wished existed, painted for a European audience hungry for images of exotic paradise. The title, in Tahitian, means By the Sea - a deceptively simple description that refuses the narrative weight European viewers expected from paintings of exotic subjects. By naming the painting in Tahitian, Gauguin asserted that this image belonged to its subjects' world rather than to the colonial gaze.

Cultural Impact

Gauguin's Tahitian paintings created the visual mythology of the South Pacific that persists to this day. His vision of Tahiti as an earthly paradise - lush, colorful, sexually free - has been both celebrated and critiqued as a colonial fantasy that erases the realities of Polynesian history and culture.

Why It Matters

Fatata te Miti captures the core paradox of Gauguin's art: a painting of extraordinary beauty that is simultaneously a genuine search for alternative ways of living and a construct that serves European fantasies about the primitive. Its power lies in its refusal to resolve this paradox.