Edouard Vuillard Interior Paintings
French, 1868-1940
French artist Edouard Vuillard was known for depicting intimate glimpses of Parisian life around the turn of the 20th century. His figurative prints, drawings and figurative paintings were concerned not just with their subjects but with the private surroundings of their homes and gardens. Vuillard was strongly influenced by Postimpressionist painters like Paul Gauguin.
Vuillard was born in the French commune of Cuiseaux in 1868. His family moved to Paris in 1877, and six years later, he received a scholarship to study at the prestigious Lycée Fontaine (now called the Lycée Condorcet). He graduated in 1885, joined the studio of painter Diogène Maillart and enrolled in courses at Académie Julian. Two years later, he was also accepted to the École des Beaux-Arts.
In 1889, the young Vuillard began meeting with a group of Symbolist painters and mystics known as Les Nabis (the prophets). For the subsequent decade, he was a prominent member of the group. During this period, Les Nabis and Vuillard himself were influenced by Japanese woodblock prints, featuring a blending of shapes and colors and a shallow depth of field. Any figures in the paintings seemed to meld into the background, and the loose brushwork prefigured the advent of abstract art.
Les Nabis broke up in 1900, and Vuillard's work took on a brighter and more colorful appeal. He turned his attention to painting gardens, joining a rich tradition of French garden painters. Vuillard was nominated for the Légion d'honneur in 1912, but he refused on the grounds that he did not seek compensation for his work other than the esteem of people with good taste.
After a brief stint in the military during World War I, Vuillard returned to life as a painter. In the 1920s, he was commissioned for portrait paintings by prominent Parisians like director Sacha Guitry, the Contesse Marie-Blanche de Polignac and fashion designer Jeanne Lanvin.
Throughout the 1930s, Vuillard received numerous commissions from the French government. In 1938, he had a major retrospective at the Musée des Arts Decoratifs and was elected to the Académie des Beaux Arts. He died in 1940, at the age of 71.
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Artist: Edouard Vuillard
Interieur a la fenetre ouverte - Post Impressionist Oil by Edouard Vuillard
By Edouard Vuillard
Located in Marlow, Buckinghamshire
Signed oil on board interior by French Les Nabis painter Edouard Vuillard. The work depicts a room with a large window, outside of which are bare trees. Inside the room are three chairs and a patterned rug on the floor.
Signature:
Signed lower left
Dimensions:
Framed: 20"x13"
Unframed: 13"x6"
Provenance:
Prince Antoine Bibesco (1878-1951) - Special Envoy of Romania to the United States
Piasa Encheres - Paris Lot no. 88 - 8th April 2005 - Sold EUR 118,000 hammer price
Acquired at the above by Thomas Gibson Fine Art - London
Acquired by the previous owner from Thomas Gibson Fine Art - TEFAF Maastricht November 2005
Literature:
This work is included in the catalogue rasionne of the work of Edouard Vuillard under Ref Volume II No. 172 - illustrated and described
Access to the raisonne online can be found at the Wildenstein Plattner Institute website.
The work is described as being executed in the period 1899 to 1904 by Antoine Salomon and Guy Cogeval
Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute.
At first, Édouard Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner.
About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye.
In 1891, Édouard Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël.
All too often, Édouard Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...
Category
1890s Post-Impressionist Edouard Vuillard Interior Paintings
Materials
Oil, Board
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L'abat-jour jaune - Nabis Pastel, Study of Interior by Edouard Vuillard
By Edouard Vuillard
Located in Marlow, Buckinghamshire
A wonderful pastel on board by French Nabis painter Edouard Vuillard depicting an interior scene with a yellow lamp amongst several other trinkets on a table and paintings and a cupboard on the wall behind. This piece is a study for the portrait of Madame Adrien Benard.
Signature:
Signed lower right and dated 1924
Dimensions:
Framed: 15.5"x118"
Unframed: 9.5"x12"
Provenance:
With thanks to Mathias Chivot who kindly confirmed the authenticity of this work.
This work is catalogued in the archives of Roussel-Vuillard.
Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute.
At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner.
About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye.
In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël.
All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...
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Early 1900s Impressionist Edouard Vuillard Interior Paintings
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Edouard Vuillard interior paintings for sale on 1stDibs.
Find a wide variety of authentic Edouard Vuillard interior paintings available for sale on 1stDibs. Customers who are interested in this artist might also find the work of Jacques Martin-Ferrières, and J.B. Holmes.