A late-career work by Paul Gauguin, featuring three figures in a flattened, symbolic Marquesan setting with unconventional colour usage.

Painted in 1902 during his final years in the Marquesas Islands, The Call (Te Aratai) represents the mature period of Paul Gauguin. The composition features three figures situated within a flattened, non-naturalistic environment. A seated woman occupies the background, while two standing figures dominate the foreground. One of the standing women gestures towards the distance, a motif that introduces a sense of ambiguity regarding the narrative intent. Gauguin employs a palette characterised by unconventional colour choices, such as the reddish-pink earth tones that contrast with the cool blues and greens of the foliage. This departure from realistic representation reflects his interest in Synthetism, where forms are simplified and colours are applied in broad, flat areas to evoke emotional states rather than objective reality. The inclusion of a white lily in the foreground adds a symbolic element, a common feature in his later works which often blended local Tahitian or Marquesan motifs with personal, spiritual, or literary references. The spatial arrangement is deliberately shallow, rejecting traditional perspective in favour of a decorative, two-dimensional surface. This approach aligns with his rejection of Western academic conventions. The figures possess a sculptural quality, their forms defined by clear outlines and muted shading. Through this work, Gauguin continues his exploration of themes concerning human existence, spirituality, and the perceived simplicity of life in the Pacific. The painting remains a significant example of his late style, where the boundaries between observation and imagination are blurred to create a subjective, dreamlike atmosphere.