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.
Sångerska på kafékonserten och Skördemännen – Émile Bernard
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
En slående zinkografi av Émile Bernard med två kontrasterande scener, utförda i cloisonismens djärva, förenklade stil.
Denna zinkografi av Émile Bernard presenterar två distinkta scener sida vid sida, vilket återspeglar konstnärens experimenterande med cloisonismen under slutet av 1880-talet. Bernard, en samtida med Paul Gauguin och Vincent van Gogh, strävade efter att avlägsna sig från impressionismens optiska realism till förmån för förenklade former och djärva, platta tonytor.
Den vänstra panelen, ”Sångerska på Café-Concert”, fångar atmosfären i Paris nattliv. Den centrala figuren av artisten är återgiven med tunga, mörka konturer, med armarna höjda i en dramatisk gest. Den omgivande publiken antyds genom förkortade former, vilket betonar miljöns teatralitet snarare än fotografisk detalj.
Den högra panelen, ”Skördarna” (Les Moissonneurs), flyttar fokus till landsbygdsarbete. Här är kompositionen roterad, med arbetarnas figurer som verkar luta sig in i ramen. Formerna är återigen reducerade till sina väsentliga konturer, ett kännetecken för Bernards sätt att trycka. Genom att använda den zinkografiska processen uppnådde Bernard en skarp, högkontrastestetik som efterliknar utseendet hos träsnitt.
Dessa verk visar konstnärens intresse för syntesen av minne och observation. Genom att platta ut bildrummet och prioritera grafisk klarhet skapade Bernard bilder som fungerar som dekorativa arrangemang lika mycket som representativa scener. Bristen på traditionellt perspektiv och betoningen på silhuett tillåter betraktaren att fokusera på linjernas rytmiska kvalitet och balansen mellan ljus och skugga. Detta tryck fungerar som ett exempel på de stilistiska skiften som ägde rum inom Pont-Aven-skolan, där konstnärer avvisade naturalismen för att utforska mer symboliska och expressiva representationssätt.
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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
Sångerska på kafékonserten och 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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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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