Fine Art Poster
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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.
Beyond Human Forces (Part 2) - Édouard Vuillard
Prezzo originale
£28.00 GBP
Prezzo scontato
£28.00 GBP
Prezzo originale
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A striking lithograph by Édouard Vuillard, created for the Théâtre de l'Œuvre, featuring high-contrast shadows and a mysterious, atmospheric composition.
This lithograph by Édouard Vuillard, titled Beyond Human Forces (Part 2), originates from a series created for the programme of the Théâtre de l'Œuvre. The work reflects the experimental approach of the Nabis group, who sought to move beyond traditional representation in favour of mood and atmospheric suggestion. Vuillard employs a stark, monochromatic palette, using the contrast between deep blacks and the stark white of the paper to construct a scene that feels both dreamlike and unsettling.
The composition is divided by vertical tree trunks that create a sense of enclosure, drawing the viewer into a dense, shadowed environment. To the right, a ghostly, elongated figure stands amidst the foliage, while in the distance, small structures suggest a village or settlement. The technique relies on the expressive potential of lithographic ink, with areas of heavy, opaque blackness juxtaposed against lighter, scratched textures. This creates a sense of depth that is not grounded in realistic perspective, but rather in the emotional weight of the scene.
Vuillard was closely associated with the avant-garde theatre movement in Paris during the 1890s. His contributions to the Théâtre de l'Œuvre were often intended to capture the psychological essence of the plays performed. This specific print demonstrates his ability to manipulate light and shadow to evoke a sense of mystery. The deliberate omission of detail in certain areas forces the viewer to engage with the image through suggestion rather than direct observation. It is a work that prioritises the subjective experience of the viewer, typical of the Symbolist tendencies present within the Nabis circle. The print remains a compelling example of late nineteenth-century graphic art, demonstrating how limited technical means can produce a powerful, evocative visual narrative.
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Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
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- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
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Completa il Look
Beyond Human Forces (Part 2) - Édouard Vuillard
Prezzo originale
Da £28.00 GBP
Prezzo scontato
Da £28.00 GBP
Prezzo originale
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Edouard Vuillard
Vuillard's father was a retired naval captain, twenty-seven years older than his mother. When the father died, Edouard was fifteen. His mother, a seamstress who ran a corset and dressmaking business from home, became the centre of his life and stayed there. They shared a series of small Parisian apartments until her death in 1928. He painted her more than five hundred times over four decades.
He joined the Nabis in the early 1890s, a group of young painters who took their name from the Hebrew word for prophets. The others (Bonnard, Denis, Serusier) were drawn to mysticism and esoteric philosophy. Vuillard was drawn to the interior. His mother's workroom, with its bolts of fabric, wallpaper patterns, and women in patterned dresses, became his subject. The paintings flatten space: the figure merges with the wallpaper, the dress dissolves into the upholstery, the room becomes a single surface of competing patterns. Critics called the approach Intimism.
He painted almost exclusively domestic scenes: rooms, tables, women sewing, women reading. The scale is modest. The colours are muted. There is no drama, no allegory, no mythology. The work assumes that a woman sitting in a chair in a room with good light is enough to make a painting, which it is.
He never married. He lived with his mother until she died and then lived alone. In the late twentieth century, historians began to reassess his decorative work (screens, murals, theatre sets for Lugne-Poe's Theatre de l'Oeuvre) and recognised that the small domestic paintings were not minor work but a deliberate programme: the interior as a subject equal to landscape or history.
He joined the Nabis in the early 1890s, a group of young painters who took their name from the Hebrew word for prophets. The others (Bonnard, Denis, Serusier) were drawn to mysticism and esoteric philosophy. Vuillard was drawn to the interior. His mother's workroom, with its bolts of fabric, wallpaper patterns, and women in patterned dresses, became his subject. The paintings flatten space: the figure merges with the wallpaper, the dress dissolves into the upholstery, the room becomes a single surface of competing patterns. Critics called the approach Intimism.
He painted almost exclusively domestic scenes: rooms, tables, women sewing, women reading. The scale is modest. The colours are muted. There is no drama, no allegory, no mythology. The work assumes that a woman sitting in a chair in a room with good light is enough to make a painting, which it is.
He never married. He lived with his mother until she died and then lived alone. In the late twentieth century, historians began to reassess his decorative work (screens, murals, theatre sets for Lugne-Poe's Theatre de l'Oeuvre) and recognised that the small domestic paintings were not minor work but a deliberate programme: the interior as a subject equal to landscape or history.
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Fine Art Framed
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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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