Statuettes on the Mantlepiece - Edouard Vuillard
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Beschreibung
A study of domestic intimacy by Edouard Vuillard, featuring a mantlepiece rendered in the artist's signature Post-Impressionist style.
Edouard Vuillard, a central figure of the Nabis group, developed a distinct approach to domestic interiors. This work captures a quiet, private moment within a Parisian home. The composition avoids traditional perspective, opting instead for a flattened arrangement of shapes and colours that merge the objects with their surroundings. The statuettes, positioned upon the mantlepiece, are rendered with quick, suggestive brushwork rather than precise detail. This technique forces the viewer to engage with the atmosphere of the room, rather than the specific identity of the items depicted.
Vuillard often utilised a muted, earthy palette to convey the intimacy of bourgeois life. Here, the browns and ochres create a sense of enclosure, while the small, bright accents of colour draw the eye to the decorative elements. The influence of Japanese woodblock prints is evident in the way the space is compressed and the decorative patterns are prioritised over three-dimensional volume. By focusing on the mundane details of a mantlepiece, Vuillard elevates a common household scene into a study of light and texture.
This piece reflects the Nabis interest in decorative art and the synthesis of subjective experience with objective reality. The paint application is varied, ranging from thin washes to thicker, more tactile marks. This variety adds a sense of movement to the otherwise still subject matter. The work does not aim for photographic accuracy, but rather seeks to communicate the feeling of being present in the room. It is a characteristic example of the artist's ability to find visual interest in the quiet corners of daily existence, using a sophisticated understanding of colour harmony to unify the composition.
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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
Statuettes on the Mantlepiece - 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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