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 Bretonneries: Skördemännen - Émile Bernard
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
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Beskrivning
En slående etsning av Émile Bernard som avbildar skördearbetare i Bretagne, utförd i den djärva, förenklade stilen inom cloisonismen.
Denna etsning av Émile Bernard, med titeln Les Bretonneries: The Harvesters, skildrar det lantliga livet i Bretagne under sent artonhundratal. Bernard, en samtida till Paul Gauguin, var en central figur i utvecklingen av cloisonismen. Denna stil definieras av användningen av djärva, platta former separerade av mörka, tunga konturer, en teknik som tydligt syns i de förenklade formerna hos figurerna och de omgivande träden.
Kompositionen fokuserar på skördearbetarnas rytmiska rörelser när de arbetar på fälten. Bernard avstår från traditionellt perspektiv och väljer istället ett plattat bildrum som betonar scenens dekorativa kvalitet. Figurerna är återgivna med minimal detalj, deras former reducerade till essentiella silhuetter som förmedlar den fysiska ansträngningen av jordbruksarbete. Bakgrunden, med rundade trädformer och en förenklad horisont, förstärker verkets grafiska karaktär.
Bernards tillvägagångssätt inom grafik återspeglar hans bredare intresse för syntetisk konst, där konstnären prioriterar minne och fantasi framför direkt observation. Genom att skala bort onödiga detaljer skapar han en scen som känns både omedelbar och tidlös. Den skarpa kontrasten mellan de mörka, etsade linjerna och den ljusare pappersytan skapar en känsla av djup utan att förlita sig på traditionell skuggning eller modellering. Detta tryck erbjuder ett tydligt exempel på de stilistiska skiftningar som ägde rum inom fransk konst under sent 1880-tal, då konstnärer rörde sig bort från impressionismens naturalism mot mer symboliska och dekorativa uttryckssätt. Verket förblir en representativ del av Pont-Aven-skolan och dokumenterar de lantliga ämnen som fascinerade många konstnärer under perioden.
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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.
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Les Bretonneries: Skördemännen - 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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Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
Made to order
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Every piece is printed to order. These are the five finishes, and what makes each one different.
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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Artistbiografi
Émile 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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