Young Woman in Kimono, Reading - Émile Bernard
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Descrizione
A Post-Impressionist study by Émile Bernard, featuring a woman in a kimono reading beside a vase of flowers, executed in the Cloisonnist style.
Émile Bernard, a central figure in the development of late 19th-century French painting, produced this work during a period of experimentation with form and colour. The composition displays the characteristics of Cloisonnism, a style defined by bold, flat areas of colour separated by dark, heavy outlines. This technique, influenced by Japanese woodblock prints and stained glass, moves away from the traditional perspective favoured by the Impressionists.
The subject is a woman dressed in a patterned kimono, seated at a table and absorbed in a book. Her posture is relaxed, and her features are simplified, directing the viewer's attention to the overall arrangement of shapes rather than individual portraiture. To her side sits a vase containing two distinct, bulbous flowers, which mirror the muted, earthy tones of the background. The green wall provides a flat, decorative backdrop that compresses the space, pushing the figure and the still-life elements to the foreground.
Bernard was a close associate of Paul Gauguin and Vincent van Gogh during his time in Pont-Aven. His work from this era reflects a shift toward synthetic painting, where the artist prioritises memory and imagination over direct observation. The application of paint is deliberate, with visible brushwork that adds texture to the surface of the canvas. The palette is restrained, relying on variations of green, ochre, and soft violet to create a sense of quietude. This piece captures the interest in non-Western aesthetics that permeated the Parisian art circles of the 1880s, demonstrating a departure from naturalism in favour of a more symbolic and decorative approach to the canvas.
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Young Woman in Kimono, Reading - 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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