Collection
Emile Bernard
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Buckwheat Harvesters at Pont-Aven - Émile BernardPrint · Framed
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Bathers with Red Cow - Émile BernardPrint · Framed
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Bretons in the Meadow - Émile BernardPrint · Framed
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Iron Bridges at Asnières - Emile BernardPrint
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After the Bath (The Nymphs) - Émile BernardPrint
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The Smoking Hashish - Émile BernardPrint
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Breton Women with Parasols - Emile BernardPrint
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Bretons - Emile BernardPrint
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Breton Woman at Haystacks - Emile BernardPrint
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Buckwheat Harvesters at Pont Aven - Emile BernardPrint
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Self-Portrait with Portrait of Gauguin - Emile BernardPrint
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Breton Women in the Meadow - Émile BernardPrint
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Young Woman in Kimono, Reading - Émile BernardPrint
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The Cliffs at Le Pouldu - Émile BernardPrint
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Earthware Pot and Apples - Émile BernardPrint
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Boy in the Grass - Émile BernardPrint
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Bathers with Red Cow - Emile BernardPrint
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Portrait of a Woman - Émile BernardPrint
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The Cliffs at Le Pouldu - Émile BernardPrint
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Annonciation - Émile BernardPrint · Framed
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Après le bain, les nymphes - Émile BernardPrint · Framed
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Trois femmes bretonnes étendant du linge - Émile BernardPrint · Framed
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Vieilles femmes en deuil - Émile BernardPrint · Framed
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Les Bretonneries : Page de titre - Émile BernardPrint · Framed
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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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