Portrait of a Woman - Émile Bernard
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Beskrivning
A striking example of Cloisonnism, this portrait by Émile Bernard uses bold outlines and flat colour fields to create a powerful, simplified composition.
This portrait by Émile Bernard demonstrates the stylistic principles of Cloisonnism, a movement he helped develop alongside Paul Gauguin. The work is defined by flat areas of colour separated by dark, heavy outlines, a technique inspired by stained glass and Japanese woodblock prints. By rejecting traditional modelling and three-dimensional perspective, Bernard focuses on the decorative arrangement of shapes and the expressive potential of simplified forms.
The subject is depicted in a seated position, draped in a dark shawl that contrasts with the lighter tones of her garment. The background is rendered in muted, earthy hues, which keeps the attention on the figure. The composition is deliberately static, avoiding the fleeting effects of light often seen in Impressionist works of the same period. Instead, the artist prioritises a synthetic approach, where the image is constructed from memory and imagination rather than direct observation.
Bernard was a central figure in the Pont-Aven School, where he experimented with bold colour and simplified drawing. This portrait reflects his interest in non-naturalistic representation, where the colour palette is chosen for its emotional or decorative effect rather than its fidelity to reality. The dark, heavy contours serve to contain the colour fields, creating a sense of order and clarity within the frame. This approach was a departure from the academic standards of the time, aligning with the broader shift towards modernism in late nineteenth-century French painting. The work remains a clear example of the artist's transition from his early experiments with Pointillism towards the more graphic, symbolic style that would define his contribution to the development of modern art.
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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
Portrait of a Woman - 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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