Madame Vuillard at Table - Edouard Vuillard
Archival giclée
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Description
A quiet, domestic scene by Edouard Vuillard, capturing his mother at a table with a focus on pattern, light, and the intimate atmosphere of the home.
Edouard Vuillard, a central figure of the Nabis group, frequently turned his attention to the domestic sphere. This work depicts his mother, Madame Vuillard, seated at a table. The composition is characteristic of his Intimist period, where the boundaries between the subject and the surrounding environment become blurred through a shared application of colour and texture.
Vuillard often utilised cardboard as a support, allowing the matte surface to absorb the paint and create a soft, atmospheric quality. In this piece, the domestic setting is rendered with a focus on pattern and light rather than precise anatomical detail. The table, covered in a cloth with distinct floral motifs, occupies a significant portion of the foreground. This decorative element anchors the scene, contrasting with the more muted, tonal treatment of the background and the figure herself.
His approach to space is flattened, rejecting traditional perspective in favour of a decorative arrangement of shapes. The palette is dominated by warm, golden ochres and earthy tones, punctuated by the brighter, more saturated reds and greens of the tablecloth. This choice of colour creates a sense of quietude and familiarity. By focusing on the mundane activities of his mother, Vuillard elevates the everyday to a subject of artistic inquiry. The brushwork is loose and suggestive, prioritising the overall mood of the interior over the specificities of the objects within it. This print captures the essence of his technique, preserving the tactile quality of the original oil on cardboard surface. It offers a glimpse into the private world of the artist, where the home is a site of constant observation and quiet contemplation.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
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To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Madame Vuillard at Table - Edouard Vuillard
Artist Biography
Edouard Vuillard
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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