Buckwheat Harvesters at Pont Aven - Emile Bernard
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Descripción
A seminal example of Cloisonnism, this 1888 work by Emile Bernard uses bold, flat colour and heavy outlines to depict Breton harvesters.
Emile Bernard painted Buckwheat Harvesters at Pont Aven in 1888, a period when he worked closely with Paul Gauguin in Brittany. This work displays the characteristics of Cloisonnism, a style defined by flat areas of colour separated by dark, heavy outlines. The composition rejects traditional perspective in favour of a decorative, two-dimensional arrangement that prioritises the graphic quality of the scene over realistic depth.
The painting depicts Breton peasants engaged in the harvest. Bernard uses a bold, non-naturalistic palette, particularly the striking red ground that dominates the lower portion of the canvas. This choice of colour creates a sense of flattened space, pushing the figures to the front of the picture plane. The figures themselves are simplified, with their traditional white head-dresses and dark clothing rendered as distinct shapes against the warm, saturated background. The lack of modelling on the figures further emphasises the graphic nature of the work.
Bernard was a central figure in the development of the Pont-Aven School. His experimentation with simplified forms and synthetic colour influenced the direction of modern painting at the end of the nineteenth century. By stripping away the atmospheric effects favoured by the Impressionists, Bernard focused on the structural and symbolic potential of colour and line. This approach allowed him to capture the essence of the Breton rural life without relying on academic realism. The work remains a clear example of the shift towards abstraction that occurred within the avant-garde circles of the late 1880s, reflecting a move away from the observation of light towards the expression of form.
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Buckwheat Harvesters at Pont Aven - 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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