We hail thee Mary, 1891, 113.7x87.7 cm, Metropolitan Paul Gauguin (1848-1903)

The composition presents a scene set within a lush, tropical landscape. A group of figures occupies the central space, arranged in a hierarchical manner that suggests reverence and devotion. The foreground is dominated by a vibrant array of fruit – bananas, mangoes, and other unidentified produce – displayed on a low platform or table. This abundance immediately establishes an atmosphere of prosperity and fertility.
Three women are positioned above this offering. They appear to be engaged in a gesture of supplication or worship, their bodies turned towards a central point just beyond the viewers perspective. The figures are rendered with simplified forms and flattened planes, characteristic of a style that prioritizes symbolic representation over realistic depiction. Their skin tones are muted, contributing to an overall sense of serenity and timelessness. Each woman is adorned with distinct garments: one wears a blue patterned wrap, another a simple white cloth, and the third a striking red garment decorated with stylized floral motifs. These differences in attire may signify varying roles or statuses within the community being portrayed.
Above these women, a halo-like glow emanates from behind, further emphasizing their elevated status. The background is filled with dense foliage – palm trees, flowering shrubs – creating an immersive environment that reinforces the sense of isolation and otherworldliness. A distant mountain range provides a backdrop, anchoring the scene within a specific geographical context.
The inscription at the bottom, Ia Orana Maria, suggests a connection to religious or spiritual beliefs. The combination of natural abundance, stylized figures, and devotional gestures implies an attempt to synthesize indigenous Polynesian traditions with Christian iconography. This blending of cultural elements is likely intended to convey a message of harmony between different belief systems, or perhaps to explore the ways in which local deities could be reinterpreted within a Western religious framework.
The paintings color palette – dominated by greens, yellows, reds, and blues – contributes to its overall mood of tranquility and spiritual significance. The artist’s deliberate use of flattened perspective and simplified forms creates an image that is both visually striking and deeply symbolic, inviting contemplation on themes of faith, fertility, and cultural exchange.