Edouard Vuillard (1868-1940) is undoubtedly one of the most important painters of the late nineteenth century France. His work engaged art of the 1900s to new ways, which today still impresses with its quality and complexity.
Cuiseaux born in Saône-et-Loire November 11, 1868, he grew up in a modest family in Paris.
He joined in March 1886 at the Académie Julian. In June 1887 he was admitted to the Academy of Fine Arts and follows the teachings of Jean-Léon Gérôme.

Vuillard au col blanc

Vuillard au col blanc Edouard VUILLARD 1901

He developed his taste for realistic still lifes and loves painting interior scenes. His work is characterized by a subtle and nuanced research ranges colored equilibrium between light and dark, lines worked arabesque decorative motifs inspired by Japanese prints.

Les Marronniers, 1894-1895 La Lectrice, 1896

This is a great admirer of classics like Vermeer, Watteau and Chardin, but it ‘s also very interested in the German artists of the seventeenth century.
In 1889, he joined a small group of artists from the Académie Julian, Maurice Denis and Pierre Bonnard who perform works marked symbolism and spirituality, which call themselves the “Brotherhood of Nabis” (Nabis meaning “prophets “in Hebrew), while claiming the work of Paul Gauguin.

Scène d’Intérieur, Paris, Edouard Vuillard.


Scène d’Intérieur, Paris 1899, Edouard Vuillard.

 It is for them to release all academic conventions and in particular the reproduction of nature or of the observed scene. The important thing is the proper reality of the painting itself, more than the reproduction of reality. They are disappointed by the limitations of Impressionism which simply reproduce landscapes, and ultimately be a loss for them as intellectual imagination, the feeling must be the key drivers of emotion. We need to bring art into life.

Intérieur, Edouard Vuillard.

In 1899, Vuillard makes some lithographs wit the series “Landscapes and Interiors”, as well as studies in pastels and watercolors that show great virtuosity in new technologies. This is a period where he also as decorative panels for interior Parisian mansions, posters and boxes of decorations “avant-garde” theater, and photographs of his close friends.


The Bernheim-Jeune Brothers, Edouard Vuillard 1908.

NABIS period is the most fruitful innovations in his work, which is a decorative very marked. The palette of the artist’s favorite however remains the same despite the adoption of technology Gauguin (solids without shades, colors violence, by partitioning concealer brush like a window) and adherence to the theories of Maurice Denis.


Self portrait, Edouard Vuillard.



Tuileries, Edouard Vuillard

Vuillard interpreter Japanese prints in a way that recalls some japanese paintings by Bonnard, more rarely, it synthesizes the extreme: In bed (1891, Paris, Musée d’Orsay). The octagonal Selfportrait, the Reader is already in 1891-92 beasts by their bright colors, but remain without day in his work. In 1892, the first set decorative nabi is that the artist performs for the hotel Desmarais, cousins Natanson. In 1893, Vuillard performs tables with subject or portraits of bourgeois interiors peopled with integrated walls so that they almost merge with them and look out: Workshop (1893, Northampton, Mass.., Smith College Museum of Art), Interior (1887, Zurich, Kunsthaus). After a series of public gardens, painted in 1894 for Alexandre Natanson (Paris,

Musée d’Orsay Museum Houston, Texas Cleveland Museum, Brussels, Mr R. A. B.), it executes another set, the figures in interiors (1896, decorative panels for Dr. vera, Paris, Petit Palais), and portraits of Natanson (1897-1898).

After 1900, he turned more towards portraits receiving numerous orders of the Parisian bourgeoisie. His compositions are becoming increasingly large and monumental they acquire depth and volume that had not earlier works. They are intended for large country houses (those of Bernheim-Jeune in Bois-Lurette [1913] or Hessel).


Contesse Jean de Poulignac, Edouard Vuillard.

It neglects provided by the interior scenes he particularly likes, where he painted the privacy of rooms furnished responsible for prolonged moments of everyday life.
The description of the interior does not prevent the depth and sensitivity of portraits: the Natanson, the Bernheim-Jeune, the Hessel, Dr. Viau, Mrs. Bénard, the Comtesse de Noailles, the Nabis (Paris, Petit Palais), Ms. Vasquez Dr. Widmer, Jeanne Lanvin (1928) and his daughter the Countess de Polignac (1929), Countess of Blignac, among many others, have posed for the artist.
The nudes are rare in these apartments and plush furniture cluttered 1900 Vuillard has however done some early century (Woman styling, interior).

Edouard Vuillard <a href=

Sofa of nude women  Edouard Vuillard.



Place Saint-Augustin, 1912-1913. Edouard Vuillard.

They have neither the freedom nor splendor of inspiration for those of Bonnard, yet these bare mention them by their intimacy, their relationship with the objects around them. Despite some successes (Landscape with Pond-la-Ville, 1899 at the Maison de Mallarmé Valvins, 1895, Paris, Musée d’Orsay), Vuillard also feels less comfortable outdoors. Embarrassed by the landscape, it is more inspired by the streets and gardens of Paris: Paris Landscape (c. 1905), Public Gardens (1894, Paris, Musée d’Orsay), Place Ventimiglia (1907), he mixes memories of Bazille and Monet, Puvis de Chavannes and the theme of the streets of Paris views height treated by Bonnard (1891-1892).


Place Vintimille, Paris. Edouard Vuillard

After 1930, during his vacation in the castle of Clayes property of his friends Hessel, it runs still lifes, flower vases simple, often placed in front of a window, all works of relaxation and harmony where the talent colorist there appears even at its best.


Photography by Salomon, Edouard Vuillard, 1935.

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