The Universe is Created (L'Univers est créé)

Gauguin carved directly into a woodblock, using bold, irregular lines to define forms and create rhythmic movement. The colors—applied in separate blocks—were layered sparingly, emphasizing contrast over nuance. The black ink dominates, anchoring the composition, while muted earth tones suggest decay or primordial matter. The rough texture and uneven inking reveal the print’s trial status, preserving the raw energy of the carving process.

This print is a trial proof, made during Gauguin’s experimentation with multi-color woodcut techniques in the mid-1890s. Few impressions were pulled, and most were retained by the artist or given to close associates. It was never published in a commercial edition, remaining a private exploration of form and myth. Its survival offers insight into Gauguin’s working methods during his final years in France before returning to the Pacific.

In the 1890s, Gauguin rejected Western artistic conventions, turning to non-European sources and spiritual themes. His woodcuts emerged alongside writings on myth and religion, influenced by Breton folklore, Polynesian cosmology, and esoteric thought. This print aligns with his broader project: to access primal truths through simplified, symbolic imagery, distancing himself from academic traditions and Impressionist observation.

Though little known during his lifetime, this woodcut exemplifies Gauguin’s influence on modern printmaking. His use of bold line, symbolic content, and expressive carving inspired Expressionist and Primitivist artists in the early 20th century. As a trial proof, it remains a rare document of his process—evidence of an artist seeking new forms to express the ineffable, beyond the reach of conventional representation.