Earthware Pot and Apples - Émile Bernard
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A classic example of Cloisonnism, this still life by Émile Bernard uses bold outlines and flat colour to define simple forms.
This still life by Émile Bernard demonstrates the stylistic shift toward Cloisonnism, a movement he helped define alongside Paul Gauguin. The composition rejects traditional modelling and atmospheric perspective in favour of flat, distinct areas of colour enclosed by dark, heavy outlines. This technique, inspired by stained glass and Japanese woodblock prints, flattens the pictorial space and emphasises the two-dimensional surface of the canvas.
The arrangement of objects is deliberate and sparse. A dark, glazed earthenware pot sits centrally, flanked by a small green vessel and several pieces of fruit. The palette is restrained, relying on earthy tones, deep greens, and muted yellows to create a sense of quietude. Bernard avoids the soft transitions of light and shadow typical of academic painting, opting instead for bold, simplified forms that prioritise decorative clarity over realistic representation.
During the late 1880s, Bernard was active in Pont-Aven, where he experimented with these synthetic methods. By reducing the visual information to its essential components, he moved away from the observational rigour of Impressionism. The surface texture of the paint remains visible, adding a tactile quality to the otherwise graphic treatment of the subjects. This work captures a moment of transition in late nineteenth-century French art, where the focus shifted from capturing fleeting light to constructing images through deliberate, symbolic colour and line. The result is a composition that feels both archaic and modern, stripping away unnecessary detail to reveal the structural integrity of the objects depicted.
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Produzione
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Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
- Stampa giclée di qualità museale per colori ricchi e resistenti allo sbiadimento
- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
Cura e pulizia
Per mantenere la tua opera d'arte al meglio:
- Spolvera delicatamente con un panno morbido e asciutto
- Evita l'esposizione prolungata alla luce solare diretta
- Non utilizzare mai detergenti liquidi sulla superficie della stampa o della tela
- Conserva in un ambiente asciutto a temperatura ambiente
- Maneggia le stampe con mani pulite e asciutte
Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Earthware Pot and Apples - 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.
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