The Cliffs at Le Pouldu - Émile Bernard
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Beschreibung
A study of the Breton coastline by Émile Bernard, featuring the characteristic simplified forms and bold colour application of the Cloisonnist movement.
Émile Bernard, a central figure in the development of late nineteenth-century French painting, produced this work during his time in Brittany. The coastal region of Le Pouldu provided a subject for many artists associated with the Pont-Aven School, who sought to move beyond the optical observations of Impressionism. Bernard, alongside Paul Gauguin, experimented with simplified forms and flat areas of colour, a style often termed Cloisonnism.
In this composition, the rugged terrain of the Breton coast is rendered with a focus on structural clarity. The steep cliffs are defined by their golden-ochre tones, which contrast against the verdant greens of the grassy foreground and the muted sky. Rather than attempting to capture the fleeting effects of light, Bernard prioritises the rhythmic arrangement of the terrain. The brushwork is deliberate, building the surface with a tactile quality that emphasises the physical presence of the earth and rock. The absence of traditional atmospheric perspective flattens the image, drawing the viewer into the specific textures of the coastal environment.
This piece reflects the broader shift in European art towards symbolic and decorative modes of representation. By reducing the visual information to essential shapes and a controlled palette, Bernard creates a sense of permanence within the scene. The work avoids the sentimentality often associated with coastal subjects, opting instead for a rigorous examination of form and colour. It remains a clear example of the stylistic innovations that emerged from the artist's engagement with the Breton landscape, demonstrating his departure from academic conventions in favour of a more personal, expressive visual language. The print captures these nuances, preserving the balance between the earthy tones of the cliffs and the cooler hues of the surrounding vegetation.
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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
The Cliffs at Le Pouldu - Émile 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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