Gauguin, Paul (1888). Vision after the Sermon (Jacob Wrestling with the Angel) [oil on canvas]. National Gallery of Scotland, Edinburgh, Scotland/Superstock.

Unexpected composition: Placement of viewer in a crowd, much of the canvas is occupied with “dead” subject matter, some objects seem somewhat disjointed from the overall rendering. |

A crowd of fundamentalists is joined in prayer. The title and treatment of various elements seem to suggest the conflict between two figures in the upper-right quadrant is not occurring in reality but a mutual vision shared by the believers. 

Shape, color and extreme value contrasts carry this work. Roughly circular shapes (heads) build a pattern from left to right. Some are edge-defined, others use line to do this. The color scheme is unbalanced complementary, and overwhelmingly warm. Colors tend to reside in the mid-tone range, while colorless shapes are either black or white. 

The most interesting aspect of elemental interaction in this work may be how depth is defined. Due to our recognition of objects found in nature, diminution, value contrast and overlap create an orderly sense of depth, but it is strongly contradicted by the robust warm color temperature.

Generally speaking, this is a stable composition. The original presentation of the subject matter infuses it with some tension, upsetting the balance in a very subtle and elusive way. This is a composition of extremes. Shapes are either saturated in color or void of it, and all are organic. Color warmth is used generously. The full value range is employed but within a strategy specific to this work: Achromatic shapes are at the extreme terminals, while colored occupy the mid-tones. Depth is in a constant state of tension.

The steady, curved arrangement of figures praying create a pleasing pattern for the eye to follow, and frames the match between the two title characters. The placement of the stalk further isolates them. The observer is placed with the crowd of figures in prayer, sharing in their vision. The picture frame is carefully placed to crop numerous subjects at specific locations, underscoring the tension to work possesses.

Gauguin’s most impressive accomplishment with this work is to take a composition of plastic depth and flatten it. There are a handful of logical extremes in this work, supported by just as many harmonious strategies, resulting in a interesting and unified work.