When Paul Gauguin painted Double Portrait of a Young Girl in 1883, he was still a Paris stockbroker, painting in the evenings and weekends, yet already searching for a new artistic language. This work stands out as one of the rare instances where Gauguin, who would later become famous for his Tahitian scenes, turned his attention to the world of children and domestic intimacy. The subject’s identity remains uncertain, but some scholars have speculated she may be one of Gauguin’s own daughters, reflecting a personal, almost private moment captured before his radical stylistic break.

The painting’s date places it at the cusp of his transition from Impressionism to the bold experiments that would define his later career. A young girl appears twice, side by side, as if caught in two moments or moods. On the left, she gazes directly at the viewer, her expression open and searching; on the right, she looks away, lost in thought or perhaps shyly retreating from our gaze. The doubling is not a trick of the mirror, but a psychological portrait: Gauguin explores the shifting nature of childhood identity, the way a child can be both present and withdrawn in the same instant.

The soft, natural light and gentle modeling of the face recall the influence of Impressionism, particularly the domestic scenes of Berthe Morisot, yet Gauguin’s palette is already moving toward the richer, more saturated tones that would later define his style. The exact provenance of Double Portrait of a Young Girl is not fully documented, and the medium remains uncertain, though it is likely oil on canvas, as was typical for Gauguin at the time. The painting’s early history is obscure, perhaps kept within the artist’s circle or family before entering public view. Today, it is recognized as a rare and revealing example of Gauguin’s early period, offering a glimpse into his evolving technique and personal life before his departure for Pont-Aven and, later, Tahiti.

Its place within Gauguin’s oeuvre is significant: it foreshadows his lifelong fascination with identity, doubling, and the inner life of his subjects.