Tribal Tahiti mural

Here, the unity of man and nature still seemed intact. The communication of the natives with the divine powers was palpable everywhere. In Tahiti, the French artist Paul Gauguin (1848-1903) found his paradise. Or rather: his idea of paradise. For he often condensed what he had experienced, the mystical, the dreamed and what was conveyed in stories into ideal images. Gauguin's colourful works from the South Seas were indeed a dream, stylistically something completely new, exotic in their motifs. The archaic nature shocked his contemporaries.

His woodcuts were even more impressive than his paintings. Such as the depiction of the Tahitian goddess Hina. The woodcut was printed in reddish-brown ink on ivory-coloured wove paper. It was probably created between 1894 and 1895.

The Gräflich Münster'sche Manufaktur has furnished the work in large format as a wall painting suitable for living. The powder effect mica supports the haptic impression. Strong contrasts between red and white emphasise the handcrafted process of woodcutting. The mural feels at home with materials of the same kind. Complement it with light wood furniture, bamboo arrangements and an unfinished plank floor.

Renew your living space with this tribal wallpaper

"In Tahiti I will make my art grow fully, in a state of wildness and primitiveness. I need silence ...", Gauguin wrote in a letter to a friend before leaving for Tahiti. The natives told him stories of their rich world of gods. Including that of the moon goddess Hina, who symbolised the renewal of life. The idea of reincarnation was not alien to Gauguin, as theosophical thoughts were doing the rounds in Paris at the time. Hina also inspired one of his sculptures, which he carved from tree trunks.

On 3 July 1895, Gauguin left the port of Marseille and moved permanently to Tahiti. In Punaauia on the west coast, he rented a small piece of land. There, with the help of the locals, he built a hut in the traditional style. "Imagine a large birdcage with bamboo poles and a coconut roof divided into two parts by the curtains from my old studio," he wrote in a letter to his former home. The darkened part of the hut was nice and cool and served as his bedroom. In the studio room, a large window was let in and provided light for work. This is where the artist lived with his mistress, the young Pahura. And it was here that he created some of his greatest works, which outlasted the times and still grew in their impact.

The time factor is also important in the production facilities of Hohenberger Wallcoverings. Our wallpapers and murals can easily be returned to the ecological and economic cycle. This is because we consistently refrain from using PVC, which would be recyclable at best at great expense. We live sustainability in all production steps.

Design rights: Wolfsee U.G, Mrs. Clarissa Dreier