Autoportrait - Edouard Vuillard
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Beschreibung
A striking self-portrait by Edouard Vuillard, featuring bold, non-naturalistic colours and a distinctive octagonal composition typical of the Nabis movement.
Edouard Vuillard, a central figure of the Nabis group, produced this self-portrait during a period of intense experimentation with colour and form. The work displays the characteristic Nabi approach to painting, where the artist prioritises decorative surface qualities over traditional modelling or realistic representation. The octagonal format, a choice favoured by the Nabis for its departure from conventional rectangular framing, forces the viewer to engage with the composition as a distinct, self-contained object.
In this portrait, Vuillard employs a bold, non-naturalistic palette. The face is divided by stark contrasts, with one side cast in deep shadow and the other illuminated by bright, flat tones. The beard is rendered in a striking, solid orange, while the hair is a block of intense yellow. These choices reflect the influence of Paul Gauguin and the Synthetist movement, which encouraged artists to use colour expressively rather than descriptively. The background is composed of small, stippled marks, creating a textured field that pushes the figure forward, further flattening the pictorial space.
Vuillard was known for his quiet, domestic scenes, yet this self-portrait reveals a more confrontational, experimental side of his practice. By stripping away detail and focusing on the interplay of shapes and hues, he captures a psychological intensity that is both direct and enigmatic. The work avoids the academic conventions of the late nineteenth century, opting instead for a simplified, graphic language that aligns with the group's interest in the synthesis of art and daily life. This print captures the specific texture of the original cardboard support, preserving the unique character of Vuillard's early, radical style.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
Autoportrait - Edouard Vuillard
Artist Biography
Edouard Vuillard
He joined the Nabis in the early 1890s, a group of young painters who took their name from the Hebrew word for prophets. The others (Bonnard, Denis, Serusier) were drawn to mysticism and esoteric philosophy. Vuillard was drawn to the interior. His mother's workroom, with its bolts of fabric, wallpaper patterns, and women in patterned dresses, became his subject. The paintings flatten space: the figure merges with the wallpaper, the dress dissolves into the upholstery, the room becomes a single surface of competing patterns. Critics called the approach Intimism.
He painted almost exclusively domestic scenes: rooms, tables, women sewing, women reading. The scale is modest. The colours are muted. There is no drama, no allegory, no mythology. The work assumes that a woman sitting in a chair in a room with good light is enough to make a painting, which it is.
He never married. He lived with his mother until she died and then lived alone. In the late twentieth century, historians began to reassess his decorative work (screens, murals, theatre sets for Lugne-Poe's Theatre de l'Oeuvre) and recognised that the small domestic paintings were not minor work but a deliberate programme: the interior as a subject equal to landscape or history.
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