Tate Modern Gauguin exhibition poster
Tate Modern's Gauguin exhibition poster

Ok. It has been a month since our Gauguin exhibition opened and we have already had a fantastic amount of comments from visitors. Many thanks to everyone. As a curator, these insights into people’s experience, thoughts and opinions are fascinating and will certainly inform any projects I work on in the future. Please do post messages on the Tate blog - I read them all! I look forward to hearing from you. Christine 


Robert Peel

It was the right size of show and I enjoyed the juxtaposition of the artefacts with the images of them in his painting. The only problem is that in the big room the view of them from afar tended to interfere with the view of the pictures themselves, although close up there was no conflict. The thematic approach worked well although there is always a strong desire to have chronology at the forefront. Interesting to see how many of the pictures were lent by US art galleries but I suppose North Americans had the money at the time that the pictures were coming on the market.

Davide Giordano

I had the pleasure to see the Gauguin show last Sunday hoping it would have been not too crowded...silly of me!

Apart from this, I think the exhibition has been curated amazingly well and I particularly appreciate the fact that it is not organized following a strict chronological order.


I feel for you, Christine, trying to strike the right balance between the volume of visitors and the quality of their experience.

I too expected crowding and put myself into a courteous-come-what-may frame of mind before plunging in. It WAS difficult to maintain when we were all SO squashed in. So my tactic was to zoom in on just a few pieces and really give them time: "Where are you going?" (the two versions), and the Christ on the Mount of Olives stay with me today, the day after our visit. My partner loved the carvings which my approach meant I almost completely missed, I'm afraid. I was sorry afterwards, given what he felt about them, and what others have said in this blog.

Personally, I liked the thematic layout - for me it brought out Gaugin's sense of mystery and the supernatural - inherent in a place or conjured by the people in it. I liked the sidelong glances of the subjects, the interaction of people and the world which is at the same time physical and symbolic. It was interesting to see how Gaugin treated space and colour on the canvas, how some visual elements were more realistic and some more stylised or patterned (cf Japanese prints).

Despite the thematic layout, I did get a sense of Gaugin's development as an artis. As my own years pass, I become increasingly aware of how difficult it is to keep refining and reinventing yourself and increasingly admire those like Gaugin who continue to create in their middle+ years.

I got absolutely no sense of the chronology of Gaugin's life from the exhibition - but hey, it's all on Wikipedia and you can do that from your own sitting room.

Like many others in this blog, we pre-booked and travelled to London specially to see this exhibition. We spent a few hours in the Tate beforehand and I must say I felt proud to be British and of this time - it's a stonking place all round from the left-luggage, to the restaurant, the setting and the works of course. One was very conscious of all the other places in the world that these Gaugin pieces had been drawn from, for us to have the amazing priviledge of seeing them.

Gary Winship

I have been to this exhibition three times so far and just finished reading the book Maker of Myth, Great. I was shocked to discover that Gauguin was also in the Merchant Navy for 6 years just like me at the same age also, wow.

Daria Borgarello

I went 3 times already to view the Gauguin's exhibition;definitely his work is very well displayed;what I appreciated very much are some of his thoughts written on the wall;I think next to each artwork in every exhibition should be written in the wall quotes of the artist;As an artist the quote of Gauguin saying :'My artistic centre is in my brain and not elsewhere' made me think and reconsider the source of inspiration,the external influence and the within ; and made me look at the artist and his work from a different perspective.

Rudy Permaul

Good exhibition; well organised. I had not seen his 3D stuff before - impressive. I was surprised about how similar his early paintings were to early 20thC English painting; not noticed before. I need to go later when it is less like being in a cattle truck. Do we know what the colours were like when they were painted? Can't help thinking that something is missing. (Van Goghs; Amsterdam?) I wonder what the paintings would look like without the gaudy frames - are we meant to look at the frame or the painting? Oh - and it's very hot! Will visit again.

Doug Walker

We loved the Gaugin show and the way that the different aspects of his life were displayed. Gaugin was such an important artist and it was interesting to see how the influence on him by the arrival in France of newly discovered statues and other artefacts brought back from Ancient Egypt with their solid ,chunky depiction of people affected his work and can be transposed into his portrayal of Polynesian women , who themselves are inclined to be of that kind of solid stature. This style then taken be forward to artists like Picasso whose blue period and cubism with it's solid forms can be seen. Gaugin made a great link between the ancient and modern worlds and through his thought provoking and mystical work helped to set the scene for the art of the 20th century.

karen t

We visited on Mon Nov 1 when we thought the half term crowds would have subsided! It was still very crowded and airless but overall it was a well considered exhibition which used the secondary spaces well for illustrations and general context pieces.

Given the inevitable crowds the blurbs needed to be bigger to prevent everyone having to crowd in front of the painting to read them.

I am not a Gaugin fan really but I enjoyed the exhibition - I just wished some of the great works had been given some more space with a little more contemplative atmosphere - perhaps a nice way to exit would have been just to see one or two of the major works left to speak for themselves with plenty space for a little pause before rejoining the frenetic world outside?

david young

fascinating to see such a collection of his work under one roof particularly his lesser known wood carvings & sculptures. I was hoping to see something about his brief but formative few months in Arles with Vincent van Gogh and their stormy parting....or did I miss this??


Thanks to Tate for extending the hours for this exhibition and sending an email about this. We went Sunday evening at 8pm and were really ablet to enjoy the exhibition, which provides so much fuller a view of Gauguin and his work. Less happily, we met beforehand at the Tate Cafe which provides portions so small you will go away hungry, despite rather steep prices.

Lynn Bhania

I have been to see the exhibition twice now, and am happy to share it with other people, as I think it's there for everyone. I did have problems reading the blurbs. . .and so ended up not bothering for some of them - so either bigger print or a leaflet/booklet to take round and read would mean not having to be so close to the exhibits. . I loved his colours, because they were similar to the bright colours I wear ( at 64 I need to remind myself that I exist. . .and colours do it for me), and was fascinated to read the story of his life. There are echoes of my story in there - I stumbled into things which changed the course of my life for very mundane reasons (such as money or convenience) , but they turned out to be pivotal.

I really appreciate the opportunity to see his work - so thank you.


Went to the exhibition briefly over the weekend. As a Tate member, I didn't mind too much about the crowds, as I almost always re-visit the special exhibitions several times. I didn't know much about Gauguin or his importance so I went with a completely open mind.

I was rather disappointed. Apart from a small number of paintings which were more interesting, I didn't feel his work is that special to justify a special exhibition of just his works at the Tate Modern.

Comparing to the previous Rothko or Twombly or Pop Arts exhibitions, this is a huge disappointment.

Alessandro Ferrari

I visited on Sunday, though I could hardly see any of the exhibits as the place was rammed with parents, kids and prams. We stayed 7 minutes.

Susan Hollendoner

I went to see the Gauguin on Monday at 10:15 am. It was already quite crowded and although my ticket was for 10:30 I was allowed to enter. The exhibit is fantastic but I was disappointed with the layout. The stencilled descriptions were worn off in many places; the print was far too small to see unless on top of it; the descriptions were too far from the paintings or objects. Often the descriptions were in corners so a crowd would form obliterating the view of works on either wall.

I enjoyed the objects, letters, etc from Gauguin's life but again although the descriptions were numbered the object to which they referred were not in numerical order! Where is number 2? Oh it's over there next to number 9!!

I went to the Budapest exhibit at the RA last week. They very helpfully provide large print booklets for each room so that one does not need to get so close to the descriptions. This means that I didn't have to obstruct others views of the work of art. Perhaps Tate Modern might copy this practice.

All in all, the exhibit is fantastic and not to be missed but the layout let it down.

Michael Reece

We went midday on a Monday and the exhibition was packed - a bit like trying to appreciate a work of art in the middle of Oxford Street during the sales. The experience was pretty dreadful and the paintings, wonderful though many of them were, were lost behind a sea of heads.

nick wood

I loved Gauguin when I was in my teens. Exotic, sensual, mysterious, I got a sense that there might be other worlds out there just a little more interesting than South Croydon. The show rekindled my interest. He seemed almost suprised at his talent in some paintings. In others pushing it to extremes in an attempt to deny its importance. Did he start by trying to be a sensation and then discovered that he had found something real? The carvings for his house. Beautiful lines and depth. Lovely soft wood. I'd forgotten how tender some of the paintings are. And how seductive the idea of being able to reinvent yourself.

Ray Newe

I've always felt a bit queezy about Gauguin, that whole noble savage/tropical paradise schtick seems wildly inappropriate in this day and age and this exhibition did little to counter that unease.

Subtitled Maker Of Myth this exhibition contented itself with explaining the mythic significance of Gauguin's imagery and putting him in the context of his contemporary Parisian centred art world whilst (unforgivably, to my mind) failing to ask what business a middle class stock broker has creating Tahitian myths nor interrogating his motives in doing so. Surely some genuine Tahitian work should have been presented here, if only to demonstrate their was/ is more to Tahiti than the gratification of middle class westerners deviancy.

The weird thing is that,frankly, its really not aged well this Tahitian stuff,rather than the 19th century avant garde one is more put in mind of, Blue Faced Women, Les Baxter record sleeves and Bounty bar adverts!

Despite also being guilty of a kind of exoticism the Breton paintings fare rather better, in fact I quite liked their mix of Catholic imagery and "everyday” Breton women..”.A Breton Girl Spinning” in particular looked great, like a cross between an alter piece and a painting found on a squat kitchen door!

Overall a missed opportunity

(I have posted this comment elsewhere on this blog in error so apologies if you are reading it for a second time!)

Clive Bosley

Splendid exhibition.

But a tad too many people crushed in at 12.30pm yesterday.

I have seen Gauguin pictures all over the world and previously in London collections. The Mellon imports were splendid and a privilege to view.

Andy Paterson

Much enjoyed the exhibition. And I much appreciated the relaxed approach to timed tickets in the current circumstances. One suggestion for the future... I was disappointed to read on the small programme you get handed at the entrance that an iPhone app was available for the exhibition - disappointed as, had I known about this, I would have bought it and consulted it prior to the exhibition. A mention of its existence in the email confirming ticket purchase would have been a good idea.

Douglas Burke

Visited Friday 15th. 3pm. Too warm, too crowded, made worse by very small descriptions hidden in tight corners. Very difficult to see & connect to relevant picture. Disappointed travelled from Cheshire. Sat 16th. Nat Gallery, French Impressionists superb & Canaletto tremendous!!!


Jean Straus

The pleasure of the exhibition was hampered by the difficulty of reading the comments alongside the works of art. The printing was so small that you had to get right in front of the comments to read them; this meant that only one person could read those very pertinent comments at a time. Printing them larger would have sped things up and made for much more comfortable viewing.


Unfortunately, my husband and I went on a very busy time on Sunday. It was too crowded and the air not very pleasant. We just went quickly trough the exhibition and decided that we will return later in December or January, when we can enjoy a less busy space.

I adore the artwork of Gauguin, adn will definitely not miss the opportunity to see it.

Maya Lipman

I went to see this exhibition yesterday (Mon) late afternoon). It was obviously a good time to go as it wasn't too packed. I admit that I am a great Gauguin enthusiast, but even so I was really blown away by the exhibition. I found it to be thoughtfully curated and well-diplayed. I really enjoyed the contextual info - many photos and correspondences which gave his story such vitality for me. I think it's a very complete representation of his work - I was impressed at how much work was included. My favourite of all his paintings, "Woman in the Waves" simply stunned me. I've seen so many reproductions of it over the years, but none of them do it any justice - it's glorious. Thanks so much - I'm definitely going again!

Tim Cooper

An amazing, widely-sourced exhibition, with clearly much generosity of lending. Even after 4pm it was still far too crowded for meaningful study; more time and fewer jostling, braying people needed. Accompanying contextual photographs, literature and other visual accounts very informative.

RMJ Harvey-Amer

Gauguin. The exhibition fully conveyed for me the life of Gaugain & that of Guagain the artist. The historical details helped with the context in which he operated. My personal thoughts as I progressed and since are the depictions were of youthful desire. Study women. Water and times past, but still with us. I found the colours and compositions at times magical, others (in particular the photo's) showing the reality of Islands found, conqueured and submissive. On a practical level there were too many veiwers at any one time being allowed into the exhibition. This made it difficult to gaze, understand and appreciate the man, his life and his art and the work undertaken by the curators. Many thanks. Ray

Joanna Jones

I graduated from The Royal Academy schools in the mid 60's. My final thesis was on Gaugain. I really enjoyed the curation of the Tate Show. Facinating how "a watching one" was already there in the early portraits of his children. I had always thought this was something he had taken from the cultures he chose to live in in the South seas. This new complexity makes it much more interesting. Congratulations a beautiful show just wish that you had single postcards of Gauguins OVIRI ceramic sculpture.

Vanessa Price

I enjoyed the exhibition despite the crowds and feel I know a little more about Gaugin, his family background and the many people who supported and influenced him.

My one criticism is that the texts by the paintings on the walls, and the remote texts for the sculptures, were really hard to read, and sometimes it was not easy to ascribe the text to the work! I usually make use of large text 'books' at exhibitions which mean that one isn't having to dodge people in order to peer at the tiny text on the wall.

david beamish

Very well presented and informative exhibition, but much too crowded on Monday 18th! The wall descriptions of each painting are far too small to read easily in such a crowded gallery. Apart from that it was very very good, as was the rest of the Tate and the staff in the cafe and restaurant were all very efficient and helpful. Thank you very much

Dodie Buchanan

What a tremendous exhibition! I went early afternoon Monday - it wasn't too crowded to begin with but got a little more so late afternoon. I took the fold up seats on offer and so glad I did - had a wonderful time sitting in front of each picture listening to the audio commentary which was definitely worth hiring. Just great that also there were letters and photographs. The colours of the paintings were amazing and print cannot do them justice. Thank you Tate - can't wait to go again!

Vicky van Manen

I was very disappointed with your exhibition. We had to wait to collect tickets - only one admin person on that till. We had a 2pm ticket - went up at 2.10 still had to queue again. All the labels for the hung works were small and being brown on white difficult to read, plus you had to go over and bend down to look at them. Even people in wheelchairs would have had difficulty in negotiating their way to the label to read it. You did not supply large-print booklets of these labels which are so beneficial in that they prevent people crowding round the label. Please don't allow your enthusiasm for the subject to ignore the need to move the crowd through. There were no stewards in any of the rooms. Go to the Queen's gallery - see how they do it. I did appreciate the scope of the exhibition and am sure it has cost a lot to put together, but do think of the customer, please.

Ros Norton

I anticipated. I read the Moon and Sixpence in the meantime. I waited for the tourist season to wain. I chose to go on a Wednesday morning - thinking that that may be a gentle time.

What a disappointment. A throng of visitors made it impossible for any of us to engage. I couldn't get any sense of the exhibits.

So, I walked through the crowd until I found three paintings that I knew really wanted to look at. I stood in front od each for about 3 minutes - feeling bad for taking up space - and then I left.

As a member, and a Londoner, I can try again - play with times - even decide to visit one exhibit at a time. That is why I joined.

If I had travelled into London specially, and paid for tickets I'd be absolutely furious at the poor management of this exhibition.

You could: dedicate a great deal more space to such an important and popular exhibition; manage the numbers who enter at any one time; open the gallery longer - earlier and and later in the day.

Difficult job you have - sorry

Helen Oram

I went to the exhibition with high expectations having only seen the occasional Gauguin picture before, and came away feeling that I do not like or understand his paintings and cannot feel the emotion behind them - the carvings are a different matter and I particularly liked the horned head. My favourite painters are Klee, Freud and Rothko - perhaps I was just having an off day, and I also found the thematic rather than chronological display very challenging but I suspect this is an age thing (I'm 68 for the record). Well worth a visit even if just to decide whether or not Gauguin deserves his reputation as a great artist.

madelaine murphy

Having read the comments above, there's a lot of very valid points there - it was hot, it was crowded, but that is to be expected, considering the rave reviews the show has been rightfully (in my opinion) accredited with.

The enormous investment that Tate has made financially in an exhibition that successfully put forward Gaugains' work contextually, autobiographically and thematically, (which is the inspired/pragmatic curatorial approach Tate pioneered) presenting the case for Gaugain as one of the more prominent roots of the mythology of 'being an artist': the desertion of his wife and family, the hedonism and idealism, the ignoring of the more traditional craft values that painting as a genre argues with...

Although I'm not a great fan of pottery and woodcarving, it was interesting to see that the curators included these, and I would be interested in knowing why - as a recognition of his wanderings through the crafts, as a broader view of what media artforms encompass....?

I couldn't believe that on leaving the show, I understood much more about him, but that I intensely disliked a person that I had never met.

david maclagan

very well put together, and some nice discoveries (like 'The Little One Dreams'): did something to scrape off the Gauguin myth (part self-imposed, of course)

Helen Meakins

Here are my thoughts on Gauguin: Maker of Myth.

I have loved Gauguin's work since the 1960's.

Whenever I have had the opportunity, I have looked at his paintings in museums and art galleries. I have stood admiringly in Brussels in the Modern Art Museum, in the Musee d'Orsay in Paris and the MOMA in New York. I have also viewed Gauguin's paintings in the Musee des Beaux Arts in Quimper and in Pont-Aven itself. I find the Breton paintings of particular poignancy, since we own a house not far from Pont Aven and have visited the town more than once and walked along the narrow road near the watermill.

Tradition in Brittany is still very strong, the dances, the pardons, the intense religious faith, that pride in stubbornness, the strong hard-working women, that feeling of being a nation apart from the rest of France. From the rugged landscapes of the Cap de Raz, to the softer more gentle countryside of the hinterland this is a region of myths and legends. Even at this earlier stage of his career, Gauguin was experimenting with the strong colours and bold outlines rendering a special world in his own masterful and unique way.

Gauguin's times in Tahiti and elsewhere are instantly recognisable for the wonderfully rich colours and the characters portrayed, enticing us into an unfamiliar world of exoticism where the dark forces are seldom far away. His work is appreciated throughout the world, and his paintings offer us glimpses of mythical universes, leading us into the landscape and hinting at the stories hidden within them.

To have all these elements combined in one exhibition is a wonderful opportunity for Gauguin enthusiasts to see the diversity of an extraordinarily rich oeuvre in one place and to appreciate what makes this amazing painter unique and unforgettable.

Nicky Horstead

An obviously splendid collection of art which was impossible to appreciate and take in. I found the exhibition too crowded to be enjoyable - which was a great shame - and the room is so stuffy! I would agree with other 'posts' that the explanatory notes are much too small to be useful for more than one person at a time.

Paul Davy

A well constructed exhibition. The little guide booklet was just the right length and I particularly appreciated having my attention drawn to the repeat appearances of various objects and images. It was good that the show included examples of his pots and carvings especially those that appeared in a painting - a little spooky.

mimi colahan

We visited yesterday, thinking mid week would be a good time, and it was, probably due to a the tube strike as well. The galleries were well peopled, but not overwhelmingly crowded, and not too hot at all. It took us just a few minutes to get in. I enjoyed the exhibition: Gauguin is not at all my favourite artist, but I love his blocks of colour and use of negative space, and particularly his charcoal and pastel drawings. It was a treat to see the Breton paintings, which I did not know, having up til now a stereotypical image of him as a painter of more exotic parts of the world... I did not use the audio guide, as I like to just look, and I would have preferred a more chronological display, to see how his style and perspective evolved. I was interested in the rooms with books, letters, cuttings etc., connected to his life and times, but I could not read any of the captions, which were too small and far away. Very frustrating. Overall, it was a privilege to see all those wonderful works, and I love Tate Modern, and the walk accross the wobbly bridge!

Denzil Isaaks

It was impressed with the exhibition, which I visited on the 18th October, and which I found educative and enjoyable. (I didn't know he had produced so many works and sculptures). This was despite the crowds and stuffiness of the environment. The general presentation was irritating because: 1) the titles often were well removed from the pictures, and 2)the print on the titles was unreasonably tiny which - with the crowds - made one have to wait for a tedious amount of time to get nearer to read the writing. All titles shoud be readable from at least 10 feet away! What is the rationale for not having larger titles positioned next to the pictures or work concerned?

Linda Chapman

Dear Christine, Many thanks for your nice letter. I feel very enthusiastic about the Gauguin exhibition because you managed to convey the artist as a person so effectively. His presence was always there; you got away from the dry world of art history and academia. Not that there was any dumbing down. Yes, I loved it, and it was exhilarating to see some familiar works with new eyes. I've just found a little catalogue from a Gauguin exhib in the Grand Palais in 1989 tucked away at home! Seems like the other day to me.. Anyway enough said for now, Best wishes, Linda Chapman.

Harriet Bretherton

Brilliant exhibition and well designed. What fantastic paintings. Interesting to see those from before the Tahiti period. I liked the photos and other documentary evidence. But I agree with the previous post that the writing on the labels was too small and impossible to read from normal viewing distance.

Tina Stagg

I have visited Tahiti and seen the same landscapes as Gaugain saw so some of the paintings were truly evocative of the glorious colours. As for the curating -I would have preferred a chronological layout so that developments in style and palette could be appreciated. Also, having problems with my reading vision, I was disappointed that there were no large print guide books in each room as I had found those at the Royal Academy the day before invaluable. I could not get near enough to read the small labels beside each painting without being pushy, which I would rather not be! Many other people also seemed to be having difficulty with these labels - they were too low and the print was too small. With regard to the comments about it being hot - as I had left my coat in the cloakroom I found the temperature just right.

Angela Donnelly

I visited the exhibition on Saturday 16th, after a long journey from Cambridgeshire, with prebooked tickets for 4.30pm. I arrived at 12 with a view to seeing the whole museum. Unfortunately I need a disabled scooter (which speedily and efficiently arrived) and found the whole day an ordeal, as the whole museum was full of people pushing and shoving . Suggestions : put a flag at normal eye level height on scooters and wheelchairs, so the disabled become visible. Make one lift disabled/pushchairs only as it took 10 minutes to change floors as able bodied people barged in front. Put information in larger type BOTH sides of the picture. Maybe an attendant could be available to help with crowd control and helping unaccompanied disabled people (I didnt see one member of staff in the exhibition itself) What did I think of the exhibition itself ? What I could see of it I enjoyed, especially the thoughtful layout of putting artifacts near paintings containing them. I love Gauguins work, but by the time I reached the last room, I was losing the will to live as I could see nothing. I watched a programme on Sky TV on Sunday about the exhibition, and was surprised at how many paintings I missed. I suggest the curator tries going round herself in a wheelchair or scooter, next Saturday, when I am sure it will be just as busy.

Mrs Belogski

I visited yesterday with my (quiet) baby in a pushchair. The exhibition was crowded but not unpleasantly so and no-one made any comments about the buggy taking up too much space. I really enjoyed the exhibition and thought the background material was interesting and well presented. My baby and I are regular "exhibition goers" and we never have any problems - sometimes i have had to rush round the last bit of a display as he starts to make a fuss and we have to get out before we disturb other people. Just a matter of common courtesy.

Margaret Raymond

My family are members and all of us, including our two boys aged 7 and 9, attended the exhibition on Sunday, 31st October. We managed to get in without having to queue, which is a wonderful benefit of having the membership! (please never change that- it is priceless, especially for families with young children). All of us enjoyed the exhibition thoroughly. Wonderful paintings- so colourful and engaging. Even our younger boy loved the exhibition- he was coming up to the captions next to the paintings and trying his best to comprehend the contents. After the exhibition our sons asked us to buy them two mini prints of the Gauguin's paintings. What does it tell us? Young children can enjoy art if it appeals to them and they should not be excluded from participating. It was busy but it did not stop us from enjoying the exhibition and I am glad that it was busy as art appreciation should be open to masses and not just select few. I was more than happy to put up with crowds to enjoy the paintings and drawings and the whole family experience. Well done, Tate Modern!

David R Matthews

We visited on Monday 1st November - crowded but not over-crowded. Pictures well laid out but their order was confusing - chronological would have been easier to follow (why is 'The Spirit of the Dead keeps watch' among the self-portraits?). Captions often irritatingly far from their subjects - a matter exhibition curators at Dulwich, NPG and RA seem to get right (we visited these same week). For my taste, too much hack-work from Tahiti/Marquesas. The enigmatic ones (e.g. 'whither is she going?') need more commentary.

Pat Rudkins

What a hype! All I can think of is that Gaugin's oils need cleaning, apart from the dominant pink no other colour shone out. As for the latest curating trends, to include every possible artefact associated with the artist, is an exhibition fill-up. I think it's the notoriety of Gaugin's life that has included him in the canon of memorable artists. Certainly, from Manet to Pollock, his work is least eye=catching. Thank you for the return of the accompanying pamphlet, I wish there was one for the Turner nominees at TB.

Rajasingha Wadana

An over crowded mess of an exhibition, this is no way to view such art. My experience was ruined totally by Tate piling masses of people every 10 minutes or so. The management of the door was appalling. My advice is to go in early January, when it's freezing cold and likely to be tranquil inside, alternatively, go to see something at the National Gallery. I will never go to a Tate exhibition of this kind at least until it's last month. PS: The Tate certainly needs a new policy regarding the entry of young children, It was comical how many were let inside. "Tate Modern - No way to view great art"

Orla McKeon

I viewed the exhibition Monday at 1pm ... thankfully with membership I could enter easily but with the school groups and ticketed visitors crowding the rooms I found it quite difficult to relax. A must is the audio visual guide. It allows you to escape the constant bustle and distraction of the crowds and is very informative & reflective on Gaugin's life. The smaller rooms dedicated to Gaugin's travel had several letters, photos and information which seemed very attractive but too small a space & too packed to be comfortable enough to peruse so I skimmed those rooms. I believe the ticketing system in general should leave more space for slots and no more than 15 people in the medium sized rooms at any one time should be allowed in. Overall I really enjoyed the exhibition and as my company is also a Tate corporate sponsor I will return to revisit hopefully at a quieter time.


I have beent to the Gaugin show twice in the past week and I have really enjoyed it. I think it is one of the best exhibitions I have ever attended. I really like the way it is laid out in the different rooms - my brain likes the order and I also really appreciated the background and surrounding information such as what the women in Tahiti were actually wearing at the time - clothes!. I loved the Sacred Themes. I loved it. Well done.