The Smoking Hashish - Émile Bernard
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Beschrijving
A portrait by Émile Bernard, painted in 1900, depicting a figure smoking a pipe in a Cairo interior.
Émile Bernard painted The Smoking Hashish in 1900 during his extended period of residence in Cairo. This work reflects the artist's departure from the Synthetist style he helped develop alongside Paul Gauguin in Pont-Aven. Instead, this period in Egypt saw Bernard adopt a more traditional, academic approach to portraiture, influenced by his observations of local life and customs.
The composition features a central figure seated in a relaxed, reclining posture upon a patterned divan. The subject wears a dark, striped garment, which contrasts with the lighter, floral-patterned fabric of the cushions. The figure holds a long-stemmed pipe, the focus of the title, with a metallic bowl resting near their hand. The artist pays close attention to the textures of the clothing and the metallic sheen of the pipe, demonstrating a shift toward realism and descriptive detail.
Bernard's time in the Middle East provided him with a new visual vocabulary. He moved away from the flattened forms and bold outlines of his earlier career, opting for a more modelled, three-dimensional treatment of the figure. The lighting is soft, suggesting an interior setting, while the subject's gaze is directed toward the viewer with a calm, steady expression. The inclusion of jewellery, such as the nose ring and bracelets, adds specific cultural detail to the scene. This painting captures a moment of quietude, documenting the artist's engagement with the environment he inhabited at the turn of the century. It remains a clear example of the stylistic transitions Bernard underwent throughout his career, moving from the avant-garde experiments of his youth to a more classical mode of representation.
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The Smoking Hashish - 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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