Gauguin, disappointed by the extent to which French colonization has actually corrupted Tahiti, attempts to immerse himself in what he believes are the authentic aspects of the culture.

He employs Tahitian titles, such as Fatata te miti ("Near the Sea", 1892; Chester Dale Collection, National Gallery of Art, Washington, D. C.) and Manao tupapau ("The Spirit of the Dead Watching", 1892; Albright-Knox Art Gallery, Buffalo, New York), uses Oceanic iconography, and portrays idyllic landscapes and suggestive spiritual settings.

In an attempt to further remove himself from inherited Western conventions, Gauguin now emulates Oceanic traditions in his sculptures and woodcuts, imparting to them a deliberately rough-hewn look.