Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Bretonische Frauen auf der Wiese – Émile Bernard
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
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Beschreibung
Émile Bernards „Bretonische Frauen auf der Wiese“ fängt eine Szene des ländlichen Lebens in der Bretagne mit vereinfachten Formen, kühnen Umrissen und einer hellen Palette ein, die den cloisonnistischen Stil des Künstlers und den Einfluss von Paul Gauguin widerspiegelt.
Émile Bernards Ölgemälde „Bretonische Frauen auf der Wiese“ aus dem Jahr 1888 zeigt eine Szene des ländlichen Lebens in der Bretagne, Frankreich. Bernard, ein französischer Postimpressionist, entwickelte einen Stil, der als Cloisonismus bekannt ist und sich durch kräftige Formen, die durch dunkle Umrisse getrennt sind, ähnlich mittelalterlicher Cloisonné-Emaillerie, auszeichnet. Dieser Ansatz entfernte sich vom Naturalismus des Impressionismus hin zu einer symbolischeren und ausdrucksstärkeren Darstellungsweise. Das Gemälde zeigt eine Gruppe bretonischer Frauen in traditioneller Kleidung vor einer flachen, leuchtend grünen Wiese. Die Figuren sind vereinfacht, mit starken Umrissen und minimaler Schattierung. Die Komposition ist bewusst abgeflacht, wodurch das Gefühl von Tiefe und Perspektive reduziert wird. Die Farbpalette ist hell, mit einem Fokus auf Grün-, Blau- und Schwarztöne. Die Frauen sind bei verschiedenen Aktivitäten dargestellt, einige stehen, einige sitzen und einige interagieren miteinander. Ein kleiner Hund ist in die Szene integriert, was einen Hauch von Häuslichkeit verleiht. Bernards Werk aus dieser Zeit zeigt den Einfluss von Paul Gauguin, mit dem er in der Bretagne eng zusammenarbeitete. Das Gemälde spiegelt ein breiteres Interesse an der Darstellung des ländlichen Lebens und der Traditionen wider, abseits urbaner Themen. Die vereinfachten Formen und kräftigen Farben tragen zur dekorativen Gesamtqualität des Gemäldes bei.
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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.
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Bretonische Frauen auf der Wiese – Émile Bernard
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Emile Bernard
Bernard invented cloisonnism at twenty and spent the rest of his life arguing about it. The technique, which uses bold flat colours separated by dark outlines (like cloisonne enamel), was developed in 1887 during conversations with Louis Anquetin. When Paul Gauguin arrived at Pont-Aven in Brittany the following year, Bernard shared the method with him. Gauguin adopted it, made it famous, and failed to credit Bernard. The quarrel lasted for decades.
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.
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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- Giclée-Druck in Museumsqualität für satte, lichtbeständige Farben
- Mattes Fine-Art-Papier in Archivqualität, FSC-zertifiziert
- Mehrere Größen und Rahmenoptionen verfügbar
- Rahmen in Schwarz, Naturholz, dunklem Holz oder Weiß
- Gerahmte Drucke werden fertig zum Aufhängen geliefert
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Damit Ihr Kunstwerk optimal aussieht:
- Vorsichtig mit einem weichen, trockenen Tuch abstauben
- Längere direkte Sonneneinstrahlung vermeiden
- Niemals flüssige Reiniger auf Druck- oder Leinwandoberflächen verwenden
- An einem trockenen Ort bei Raumtemperatur aufbewahren
- Drucke mit sauberen, trockenen Händen anfassen
Material & Größe
Museums-Giclée-Druck auf FSC-zertifiziertem, archivbeständigem, mattem Papier, wahlweise mit Rahmen oder als Leinwand.
- Papierformate: A4, A3, A2, A1, A0 und B2 (50×70 cm)
- Leinwand: XS (20×30 cm) bis Large (60×90 cm)
- Rahmen: Schwarz, Naturholz, dunkles Holz oder Weiß
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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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Biografie des Künstlers
Émile Bernard
Bernard invented cloisonnism at twenty and spent the rest of his life arguing about it. The technique, which uses bold flat colours separated by dark outlines (like cloisonne enamel), was developed in 1887 during conversations with Louis Anquetin. When Paul Gauguin arrived at Pont-Aven in Brittany the following year, Bernard shared the method with him. Gauguin adopted it, made it famous, and failed to credit Bernard. The quarrel lasted for decades.
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.
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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