After the Bath (The Nymphs) - Émile Bernard
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Beschreibung
A Synthetist composition by Émile Bernard, featuring three figures in a simplified, decorative arrangement.
Émile Bernard, a contemporary of Paul Gauguin and a participant in the Pont-Aven school, produced this work during a period of experimentation with Synthetism. This movement prioritised the simplification of forms, the use of bold outlines, and the application of flat areas of colour over the traditional modelling favoured by the Impressionists. In this composition, the figures are arranged in a manner that rejects naturalistic perspective in favour of a decorative, rhythmic quality.
The three female figures are positioned against a dark, simplified ground, which serves to push the pale tones of their bodies forward. Bernard employs a deliberate lack of depth, creating a stage-like space where the figures interact with one another and the surrounding drapery. The anatomy is treated with a degree of stylisation, reflecting the artist's interest in moving away from academic realism toward a more symbolic or conceptual representation of the human form. The dark, almost monochromatic background contrasts with the warm, fleshy tones of the bathers, creating a clear separation between the subjects and their environment.
This piece captures the transition in late 19th-century French painting, where artists sought to express internal concepts rather than external observations. The figures, while grounded in the tradition of the bather motif, are rendered with a flatness that anticipates later developments in modern art. The composition avoids unnecessary detail, focusing instead on the arrangement of the bodies and the interplay of light and shadow across the skin. By stripping away the extraneous elements of a typical setting, Bernard allows the viewer to focus on the formal relationships between the figures and the surrounding space. The work remains a clear example of the Synthetist approach to figure painting, where the artist's subjective vision dictates the final appearance of the canvas.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
After the Bath (The Nymphs) - Émile Bernard
Artist Biography
Emile Bernard
He was raised by his grandmother, who owned a laundry in Lille, because his younger sister was ill and required his parents' full attention. He entered the Ecole des Beaux-Arts in Paris but was expelled for insubordination. At the Academie Cormon he met Toulouse-Lautrec and Van Gogh; his friendship with Van Gogh produced some of the most important letters in art history.
Bernard and Gauguin fell out definitively in 1891 over the paternity of Symbolism and cloisonnism. Bernard believed he had been written out of the story, which he had. He spent years writing criticism and art history to set the record straight, producing first-hand accounts of the period that remain primary sources.
His later work turned conservative. He travelled to Egypt, studied the Old Masters, and repudiated the avant-garde experiments of his youth. The early paintings, made between 1886 and 1897 when he was barely out of his teens, are the ones that matter. He was brilliant too young and spent the rest of his career looking backwards. His correspondence with Van Gogh, preserved and published, is one of the most direct records of how two young painters in the 1880s thought about colour, composition and what painting was for.
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