Fine Art Poster
From £28
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.
Les Amours de Pierre Ronsard: Les Amours De Marie - Émile Bernard
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
En träsnittsillustration av Émile Bernard, föreställande figurer i klassisk stil som ackompanjerar Pierre de Ronsards poesi.
Detta träsnitt av Émile Bernard fungerar som en grafisk tolkning av Pierre de Ronsards poesi. Bernard, en figur associerad med Pont-Aven-skolan och utvecklingen av Cloisonismen, sökte ofta historiska litterära källor för att informera sin visuella praktik. Kompositionen visar två figurer som flankerar ett centralt textblock, en layout som påminner om tidiga tryckta bokillustrationer och träsnitt från renässansen.
Figurerna är återgivna med fokus på djärva, rytmiska linjer som definierar form utan behov av komplex skuggning. Bernard använder en förenklad metod för anatomi, där han prioriterar siluettens dekorativa kvalitet framför anatomisk precision. Den omgivande växtligheten och de stiliserade träden ovanför figurerna skapar en ram som integrerar texten i den övergripande designen. Denna syntes av typografi och bild speglar konstnärens intresse för boken som ett enhetligt estetiskt objekt.
Bernards verk under denna period rörde sig ofta bort från hans ungdoms radikala färgexperiment, och gynnade en återgång till mer traditionella, grafiska tekniker. Användningen av ett enfärgat bläck på en neutral bakgrund betonar linjearbetets klarhet och balansen mellan positivt och negativt utrymme. Ämnet, hämtat från Ronsards sonettcykel tillägnad Marie Dupin, överensstämmer med konstnärens bredare engagemang i klassiska teman och fransk litteraturhistoria. Detta tryck erbjuder ett tydligt exempel på Bernards förmåga att anpassa sina modernistiska känslor till kraven på illustrativt arbete, samtidigt som han bibehåller en distinkt stilistisk identitet och respekterar källmaterialets historiska kontext.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
Care and materials
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
- Framed prints arrive ready to hang
Care & Cleaning
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
- Handle prints with clean, dry hands
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
Komplettera looken
Les Amours de Pierre Ronsard: Les Amours De Marie - Émile Bernard
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Emile Bernard
Bernard invented cloisonnism at twenty and spent the rest of his life arguing about it. The technique, which uses bold flat colours separated by dark outlines (like cloisonne enamel), was developed in 1887 during conversations with Louis Anquetin. When Paul Gauguin arrived at Pont-Aven in Brittany the following year, Bernard shared the method with him. Gauguin adopted it, made it famous, and failed to credit Bernard. The quarrel lasted for decades.
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.
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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Fine Art Framed
From £45
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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