Head of a Monkey; Inventory of Bottles and Beverages [verso]

The monkey’s head may reflect Gauguin’s fascination with primal or non-Western symbolism, a theme that would later dominate his work. The inventory of bottles and beverages on the reverse could reference everyday life in Brittany or Paris, contrasting the organic form of the animal with the rigid cataloging of consumer goods. Together, the two sides may hint at tensions between nature and civilization, or spontaneity and order.

Gauguin combined graphite for soft contours, crayon for textured shading, and pen with brown ink for sharp definition, creating a layered visual rhythm. The lack of uniformity in line and tone reflects his departure from academic precision. This experimental handling of materials aligns with his broader rejection of Impressionist naturalism in favor of expressive, symbolic forms.

The drawing is part of Gauguin’s personal sketchbook material from his time in Brittany and Paris, produced as he moved away from conventional subjects toward more introspective and symbolic imagery. It entered the National Gallery of Art’s collection through established acquisition channels, preserving its role as a document of his artistic development during the mid-1880s.

During this period, Gauguin was distancing himself from Impressionist circles and seeking alternative modes of expression influenced by medieval art, Japanese prints, and non-European cultures. His drawings from this time often served as studies for paintings or as independent explorations of form and meaning, reflecting his growing interest in spiritual and primitive themes.

This work contributes to the understanding of Gauguin’s process as a draftsman who treated paper as a space for inquiry rather than finish. Its dual-sided nature reveals how he layered ideas across surfaces, influencing later artists who valued sketchbooks as repositories of thought. It stands as a quiet testament to his evolving vision before his departure to Tahiti.