Hinter verschlossenen Türen: Die Wahrheit über den spektakulären Gauguin-Fund

Mysterious Masterpieces: Dr Yvonne Muchitsch unravels unknown paintings by Paul Gauguin
It is the ultimate dream in the art world: a discovery that turns established historical narratives on their head, brings hidden secrets to light and changes our view of a world-famous genius forever. At Cuvillier Verlag, we are delighted to present a publication that captures precisely this sense of excitement. In the groundbreaking work Paul Gauguin: 2 unknown paintings, our renowned author Dr Yvonne Muchitsch, together with her co-author Dr Elpida Vouitsis, tackles a truly spectacular mystery in art history.

A search for clues spanning Tahiti, Paris and lost collections 

What happens when a masterpiece not only remains undiscovered for decades, but also harbours a double mystery? The object at the centre of this research raises questions that would have preoccupied generations of experts: on the front (recto), the ‘Nue tahitienne assise avec fleur rouge’ – a work created in 1892 during Gauguin’s first creative period in Tahiti – is a source of fascination. Yet the real sensation of this Gauguin discovery is revealed when one looks at the reverse (verso): on the same canvas is the work ‘Chambre avec vue d’une fenêtre ouverte’. Two completely different eras and subjects on a single support.

Detailed provenance research into art in this case resembles historical detective work. Dr Muchitsch reconstructs the convoluted and at times dramatic journey of the canvas. The trail leads from the Parisian galleries of legendary art dealers such as Ambroise Vollard right into the turmoil of the Second World War and the famous, myth-shrouded Šlomović Collection. How did the painting survive the decades, and where had it been hidden all that time?

Interdisciplinary science: How is the authenticity of a painting proven?

With her distinctive approach, Dr Yvonne Muchitsch combines a razor-sharp analysis of the art market with state-of-the-art art-technological investigations. How can the authenticity of such a sensational discovery be demonstrated comprehensively and convincingly, leaving no room for doubt?

The book offers fascinating insights into the scientific analyses without giving away the final secret:

• Pigment and fabric analysis: Do the materials used, the texture of the canvas and the binders correspond exactly to those substances that Gauguin is known to have had at his disposal during his years in the South Pacific?

• The infrared mystery: What hidden preparatory drawings and compositional sketches have come to light beneath the layers of paint?

• The mystery of the model: Who is the seated Tahitian woman with the red flower really? Does Gauguin’s personal manuscript ‘Noa Noa’ provide the decisive clue?

The Paris Mystery: A Logical Contradiction in the Catalogue Raisonné?

The aim of the two-year research project was clear from the outset: to present comprehensive documentation as a basis for decision-making to the WPI in Paris, which oversees the official catalogue raisonné of Gauguin’s works.

At the end of 2024, the double-page work was physically transported to Paris. Shortly afterwards, a surprisingly swift response followed, stating that the painting should not be included in the catalogue raisonné. This notification inevitably raises questions. It seems particularly puzzling that the expertise of Dr Vouitsis, as a former WPI employee, was apparently not taken into account, and that the examination of over 300 pages of research could hardly have been carried out comprehensively in such a short time. Against this background, it remains unclear whether this assessment is definitive.

Important to note: Non-inclusion in the WPI catalogue raisonné by no means implies that the work is a forgery! The WPI does not act as an absolute authority on authentication, but rather defines a conceptual narrative. If a work is not included, it often simply does not fit within the institution’s current interpretation.

It is precisely for this reason that the authors made a conscious decision to publish the book. The combination of detailed art-historical research, scientific analysis and independent provenance research is too significant to remain behind closed doors. The book makes the data publicly available so that the art world can form its own opinion.

Rediscover art history

‘Paul Gauguin: 2 unknown paintings’ is not a dry academic text; it is an invitation to all art lovers, collectors and historians to witness a spectacular revelation. It sheds a completely new light on the eccentric working methods and financial constraints that inspired – or compelled – the artist to create such extraordinary double canvases.

Have we piqued your interest? Delve deeper into the analyses and join Dr Muchitsch on this art-historical journey. The book is now available in its expanded 2nd edition.

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