Given some other details of the painting's construction, however, and specifically of the halo, this interpretation could be seen in an ironic light.
Most of the painting's colors are quit vibrant, with red and yellow dominating. There are several instances in the painting where certain objects seem to blend in with or fade into the background. The halo is one such object; in both color and size it is one of the least assuming objects in the painting, and almost no attention would be focused on it if not for its mention in the title. Gauguin could be ironically commenting on his attitude towards religion, hedonism, or just basic lust, but the near transparency of the halo makes it hard to accept as sincere.
The nearly complete use of space Gauguin employs in this painting has a nearly claustrophobic effect; even the fields of red and yellow that dominate, respectively, the upper and lower halves of the painting are textured enough to appear fully substantial rather than merely background. In addition, the painting is broken up by so many images that it is hard to take it all in at once, adding to the feeling of closeness that almost presses on the viewer's eyes. Gauguin does not employ any lines at all in the painting, instead seeming to have gone to certain lengths to ensure that every part of every object rendered in the painting is curved, complete with the drooping, phallus-like flowers.
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