Gauguin's famous picture Christ in the Garden of Olive-Trees was painted in Brittany in 1889. Christ's features do not any doubt, that painting is the artist's self-portrait in which he wanted to express his state of prostration and despair. Simultaneously with his bitter feeling that nobody understood him, grew his con­viction that he was the "Saviour" of modern painting, one who could find the source and truth of art on an island in Oceania where lived good and happy people unaffected by European civ­ilization. He wanted to go there at any price, but he was penni­less and without prospects for help. In his picture he identified his life and suffering with the Passion of Christ. The composition is conceived as a diptych divided by a tree trunk. The half figure presentation of Christ pushed in the left corner of the painting seems to intensify his humiliation and grief. The figure of Christ is in a folk-naive style and the unnatural red of his hair symbolizes the Saviour's human suffering. The landscape is mysterious and enigmatic. While being fairly true to the description in the Gospel, it portrays neither the environs outside the walls of the holy city of Jerusalem nor the Breton landscape. It is identical with the landscape of an island of Polynesia with its fairyland colour and peaceful atmosphere. However, Gauguin has painted Christ in Britanny in such a setting before his trip to Tahiti. This was only his genial preconception and vision of a lost paradise, which, as he then believed, he was not destined to reach. In this way, the Breton Christ, depicted in the imaginary Tahitian setting, as Christ in the Garden of Olive-Trees, became a mystical and artistic con­nection between the two worlds created by Gauguin - the Breton and Tahitian mythologies.