The Reader - Edouard Vuillard
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Beschreibung
A striking Post-Impressionist study by Edouard Vuillard, featuring a reader rendered in bold, flat planes of colour and simplified forms.
Edouard Vuillard was a central figure of the Nabis, a group of French artists who rejected the naturalism of Impressionism in favour of decorative, symbolic, and flattened forms. This work, typical of his output during the 1890s, demonstrates his interest in domestic subjects and the quiet, private moments of daily life. The composition focuses on a single figure absorbed in reading, rendered with a deliberate lack of traditional perspective.
Vuillard employs a bold, non-naturalistic colour palette to define the space. The background is divided into distinct zones of yellow and orange, which press against the figure and create a sense of compression. The figure itself is constructed through simplified shapes and dark outlines, reducing the human form to its essential silhouette. This approach reflects the influence of Japanese woodblock prints, which were widely collected by the Nabis and encouraged the use of flat colour planes and asymmetrical arrangements.
Unlike his later, more detailed interiors, this piece prioritises the graphic quality of the image. The paint application is matte, often executed on cardboard, which absorbs the pigment and contributes to the muted, velvety surface texture. By stripping away extraneous detail, Vuillard directs the viewer to the psychological state of the subject. The reader is entirely enclosed within their own world, separated from the viewer by the stark, abstract environment. This work captures the essence of the Nabis aesthetic, where the artist prioritises the arrangement of colour and shape over the literal representation of the physical world. It remains a clear example of how Vuillard transformed mundane, everyday activities into studies of colour and form.
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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 Reader - 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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