Bathers with Red Cow - Emile Bernard
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Descripción
A classic example of Cloisonnism, this work by Emile Bernard uses flat colour fields and bold outlines to depict a scene of bathers.
Emile Bernard, a contemporary of Paul Gauguin, produced this work during a period of experimentation with the Cloisonnist style. The painting employs flat areas of colour enclosed by dark, distinct outlines, a technique that rejects traditional modelling and perspective in favour of a decorative, two-dimensional surface. The composition is organised around a central golden-yellow ground, upon which several female figures are arranged in various states of repose or movement.
The presence of the red cow in the upper left corner introduces an element of pastoral symbolism, a common motif in the Pont-Aven school. Bernard uses a restricted palette, relying on the contrast between the warm yellow of the ground and the cooler, blue-toned flesh of the bathers to create visual tension. The figures themselves are simplified, with anatomical details reduced to essential forms. This approach reflects the broader shift in late nineteenth-century French art away from the optical realism of Impressionism towards a more synthetic, symbolic representation of the subject.
By flattening the pictorial space, Bernard draws attention to the surface of the canvas as an object in its own right. The figures do not inhabit a realistic three-dimensional environment but rather exist within a structured, graphic arrangement. This work demonstrates the artist's interest in the decorative potential of painting, where the arrangement of colour and line takes precedence over the accurate depiction of light or volume. The result is a scene that feels both primitive and modern, capturing a quiet, timeless quality that characterises much of the work produced by the artists associated with the circle at Pont-Aven.
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Bathers with Red Cow - Emile 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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