Paul Gauguin – Still Life with Mangoes Part 5 National Gallery UK

The composition presents a still life arrangement dominated by fruit and foliage against a warm, ochre-toned background. A central plate holds several mangoes, their surfaces rendered with thick, impasto brushstrokes that emphasize texture and form. These fruits are arranged in a slightly haphazard manner, suggesting an immediacy of observation rather than meticulous planning. Surrounding the plate, additional mangoes and what appear to be other tropical fruits – perhaps papayas or similar varieties – are scattered across the foreground.
The color palette is notably restrained, relying heavily on variations of red, brown, orange, and green. The limited range contributes to a sense of unity while also highlighting the inherent colors of the subject matter. A blue-green ceramic vessel sits at the upper right corner, its form simplified and abstracted, providing a contrasting cool tone that balances the warmth of the rest of the composition.
The foliage interspersed among the fruit is rendered with loose brushwork, creating an impression of lushness and abundance. The flowers – characterized by their vibrant red hues and spiky forms – add visual interest and contribute to the overall exotic atmosphere. They are not botanically precise but rather serve as expressive elements within the arrangement.
The artist’s handling of light is noteworthy; theres no clear, directional source, instead a diffused glow seems to emanate from the objects themselves. This creates a flattened perspective, minimizing depth and emphasizing the surface qualities of the paint. The signature appears in the upper left corner, executed with a similar gestural quality as the rest of the work.
Subtextually, the painting evokes themes of abundance, fertility, and perhaps even a longing for an idealized tropical paradise. The fruits themselves symbolize nourishment and vitality, while their arrangement suggests a sense of casual luxury. Given the limited color palette and simplified forms, one might interpret this as a deliberate rejection of academic realism in favor of a more subjective and emotionally resonant representation of nature. The work seems to prioritize sensory experience over precise depiction, inviting contemplation on the simple pleasures of life and the beauty found within natural forms.