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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Bretons in the Meadow - Émile Bernard
Precio habitual
£37.00 GBP
Precio de oferta
£37.00 GBP
Precio habitual
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A characteristic Cloisonnist work by Émile Bernard, depicting Breton women in a meadow through bold outlines and flat, simplified colour planes.
Émile Bernard, a central figure in the development of late nineteenth-century French painting, produced this work during his time in Pont-Aven. The composition reflects the principles of Cloisonnism, a style defined by bold forms separated by dark contours. This approach rejects the traditional modelling of light and shadow found in Impressionism, opting instead for flat areas of colour that create a decorative, almost graphic effect.
The scene depicts local Breton women in traditional attire, their figures rendered with simplified, heavy outlines. The background features figures in a meadow, integrated into the space through a flattened perspective that prioritises the arrangement of shapes over realistic depth. Bernard uses a palette dominated by earthy greens and muted tones, which serves to unify the foreground and background elements. The focus remains on the rhythmic repetition of the figures and their distinctive headwear, which functions as a structural element within the frame.
This work captures the artist's interest in the rural life of Brittany, a subject that occupied many painters of the Pont-Aven School. By stripping away unnecessary detail, Bernard directs the viewer to the essential geometry of the scene. The application of paint is direct, avoiding the broken brushwork typical of his contemporaries. This piece provides a clear example of the shift towards synthetic painting, where the artist prioritises memory and imagination over direct observation. The result is a composition that feels both grounded in its regional subject matter and modern in its formal execution. It remains a representative example of the experimental period in Bernard's career, during which he collaborated closely with Paul Gauguin to redefine the boundaries of visual representation.
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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.
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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
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- Marcos en negro, madera natural, madera oscura o blanco
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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
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Bretons in the Meadow - Émile Bernard
Precio habitual
Desde £37.00 GBP
Precio de oferta
Desde £37.00 GBP
Precio habitual
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Emile Bernard
Bernard invented cloisonnism at twenty and spent the rest of his life arguing about it. The technique, which uses bold flat colours separated by dark outlines (like cloisonne enamel), was developed in 1887 during conversations with Louis Anquetin. When Paul Gauguin arrived at Pont-Aven in Brittany the following year, Bernard shared the method with him. Gauguin adopted it, made it famous, and failed to credit Bernard. The quarrel lasted for decades.
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.
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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Fine Art Framed
From £59
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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