Boy in the Grass - Émile Bernard
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A contemplative study of a seated boy, rendered in the flat, decorative style of late 19th-century French Cloisonnism.
This work by Émile Bernard captures a seated figure from behind, rendered with the simplified forms and flat colour planes characteristic of the Cloisonnist style. Bernard, a contemporary of Paul Gauguin and Vincent van Gogh, was instrumental in the development of Synthetism, a movement that prioritised the artist's memory and imagination over direct observation. The composition is stark, focusing on the boy's posture and the contrast between his pale skin and the surrounding verdant ground.
The application of paint is deliberate, with the artist using distinct areas of colour to define the subject. The red hair provides a sharp visual counterpoint to the dominant green tones of the grass, which occupies the majority of the pictorial space. By omitting complex background details, Bernard directs the viewer's attention to the silhouette and the quiet, contemplative nature of the scene. The shadow cast by the figure is rendered with a soft, diffused edge, suggesting the presence of natural, ambient light rather than a harsh, singular source.
Bernard's approach here reflects his interest in Japanese woodblock prints, which influenced many artists in late 19th-century France. The lack of traditional perspective and the emphasis on decorative surface patterns are evident in the way the grass is treated as a unified, textured field. This piece offers a clear example of the shift away from the fleeting light effects of Impressionism toward a more structured, symbolic representation of form. It remains a representative example of the experimental period in Pont-Aven, where Bernard and his peers sought to simplify visual language to express a more direct, emotional response to their subjects.
Política de devoluciones
Debido a que cada impresión se realiza bajo pedido, no ofrecemos devoluciones, reembolsos ni cambios por cambio de opinión. Si su pedido llega defectuoso, dañado o incorrecto, lo reemplazaremos sin cargo alguno; solo contáctenos dentro de las 48 horas posteriores a la entrega. Consulte nuestra página de reembolsos para obtener todos los detalles.
Envío
Realizamos envíos a todo el mundo, imprimiendo en el centro de producción más cercano a su dirección de entrega. Los plazos y costes de envío varían según el destino; verá las opciones disponibles para usted al finalizar la compra.
Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Boy in the Grass - 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.
¿Por qué elegirnos?
Garantía de entrega sin daños
Envío rápido
Materiales de calidad de museo
También te puede interesar