Breton Woman at Haystacks - Emile Bernard
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Beschreibung
A classic example of Cloisonnism by Emile Bernard, featuring a Breton woman set against a simplified, graphic coastal scene.
Emile Bernard, a central figure in the development of late nineteenth-century French painting, produced this work during his time in Brittany. The composition reflects the principles of Cloisonnism, a style characterised by bold forms separated by dark contours. Bernard, alongside contemporaries such as Paul Gauguin, rejected the naturalistic light and shadow of Impressionism in favour of flat areas of colour and simplified shapes.
The painting depicts a figure in traditional Breton attire positioned in the foreground, her presence balanced against the rhythmic forms of haystacks. The sea and sky are rendered with a deliberate lack of perspective, creating a decorative, almost graphic quality. The colour palette is restricted, relying on the contrast between the deep reds of the haystacks, the bright green of the grass, and the cool tones of the water and sky. This approach prioritises the arrangement of shapes on the surface of the canvas over the illusion of three-dimensional space.
Bernard's work from this period demonstrates a move toward synthesis, where the artist aims to combine memory and observation into a single, unified image. The figure, with her distinct headpiece, serves as a bridge between the viewer and the rural environment. The absence of complex modelling allows the viewer to focus on the interplay of colour and line. This piece is a clear example of the experimental nature of the Pont-Aven School, where artists sought to move away from academic traditions to find a more direct, expressive visual language. The work remains a study in the application of synthetic theory, where the artist simplifies the visual world into its most essential components, resulting in a composition that is both balanced and visually arresting.
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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
Breton Woman at Haystacks - Emile 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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