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FRAMING INFORMATION
1st Art Gallery offers the option to receive your painting ready to hang or rolled in a tube.
Currently, for safety, we're able to ship framed paintings only up to a certain size. Once the maximum size is reached, the framing option is automatically disabled.
However, if you are interested in stretching or framing a painting larger than 24x36 inches (60x90 cm), please contact one of our customer success associates or let us know in your order notes. We will send you a catalog of our large framing styles and pricing options.
Unframed rolled canvas orders will arrive rolled inside a protective tube with an extra 1.5" white canvas on all sides so you can easily frame it locally.


Between his two Tahitian periods, Paul Gauguin spent some time in France, from 1893 to 1895, being artistically productive, selling the paintings he had produced during the first Tahitian period, and putting order to his business to return to the South Sea islands. Although during that process Gauguin was physically distant from the source of his inspiration, that didn’t mean that he would stop producing work based on his experiences in Tahiti, although a certain difference can be noticed between the paintings produced while in the islands and those produced during that brief stay in Paris.
In this oil on canvas, for example, we can see some of those subtle differences. Finished in 1894, but quite possibly derived from studies started while in Tahiti a couple of years before, this painting is also known as Reclining Tahitian Women, which is not a direct translation of the original name, written on the bottom left of the painting, which actually means “do not have a spirit” in Maori language, translated loosely. It is currently in possession of the Ny Carlsberg Glyptotek, in Copenhagen, Denmark, and measures about a meter in width.
It portrays in its foreground the titular women, reclining on an unknowable surface, which seems like a white sheet, and is shaped like they were on a small hill. They are dressed in a mix of Tahitian and western clothes, which is to say they dress like western women, but with Tahitian patterns on their clothes. That, along with the white sheet, a color which usually means death and the worship of the gods to the Maori, may be related to the title, whereby the women are the ones deemed to have lost their spirit.
In stark contrast with them, the background is populated by an oversized idol on the left, and two dancing people on the right. It is divided from the foreground by a tree, which cuts the painting down its diagonal. Further, there is also a great contrast of color, where the background is much more colorful than the foreground, which could be reinforcing the idea that the women in the foreground have left behind a colorful life with their people to fit within western culture, thus giving up their spirits and happiness. Compared to his Tahitian work, it relies much less on observational painting and much more on symbolism, a prelude of what his style would become.
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Real Oil Paints, Real Brushes, Real Artists, Real Art. The Certificate of Authenticity which arrives with every painting provides an assurance and verifies the authenticity of the hand painted fine art reproduction you purchased. Each oil painting is created by hand using only the finest canvas and oil paints available.
Important Notes About Your Painting:
If you have any request to alter your reproduction of Arearea No Varua Ino, you must email us after placing your order and we'll have an artist contact you. If you have another image of Arearea No Varua Ino that you would like the artist to work from, please include it as an attachment. Otherwise, we will reproduce the above image for you exactly as it is.
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Free shipping is included in the price of the painting. Once the painting is ready and dry enough to ship, we will roll it and ship it in a sturdy cardboard tube.
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