Public Gardens - Edouard Vuillard
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Beschreibung
A fine art print of Edouard Vuillard's 1894 decorative panel, Public Gardens, capturing the matte texture and flattened perspective of the original distemper work.
Edouard Vuillard created this series of panels, known as Public Gardens, in 1894. Commissioned by Alexandre Natanson for his dining room, the work consists of nine panels that depict scenes from the Parisian parks. This specific composition demonstrates the artist's interest in decorative surfaces and flattened perspective, which were central concerns for the Nabis group.
Vuillard employed distemper, a medium consisting of pigment mixed with glue size, to achieve a matte, chalky finish. This technique allows for subtle colour layering and a distinct lack of reflective sheen. The figures are integrated into the environment through a series of rhythmic patterns and dappled light effects. The shadows cast across the ground create a sense of movement and temporal shift, suggesting the fleeting nature of an afternoon spent outdoors.
Rather than focusing on traditional depth, Vuillard emphasises the two-dimensional quality of the canvas. The figures, dressed in the fashion of the 1890s, appear as silhouettes or decorative elements within the larger arrangement. The palette is composed of muted earth tones, soft greens, and pale blues, which unify the disparate panels into a cohesive visual experience. This work reflects the influence of Japanese woodblock prints on the Nabis, particularly in the use of bold cropping and the simplification of forms. By removing unnecessary detail, Vuillard directs the viewer's attention to the atmospheric quality of the scene. The panels function as a unified decorative scheme, intended to transform the domestic interior into a space of quiet contemplation. This print captures the texture and tonal range of the original distemper, preserving the specific aesthetic qualities that define Vuillard's contribution to modern painting.
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Fertigung
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
Public Gardens - 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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