Ève bretonne
À propos du tableau
Ève bretonne – ou Mélancolie – est un tableau réalisé par le peintre français Paul Sérusier en 1890. De format vertical, cette huile sur toile représente une femme assise nue dans un paysage présentant de grands affleurements rocheux. Elle peut s'interpréter comme une allégorie de la Mélancolie ou plus certainement comme une peinture chrétienne déplaçant Ève en Bretagne, comme le fait par ailleurs l'Ève bretonne de Paul Gauguin. Entrée dans les collections publiques en 1981, l'œuvre est conservée au musée d'Orsay, à Paris.
Notice
- Numéro d’inventaire
- RF 1981 5
Pendant ce temps, chez Sérusier, Paul
La vie entière1888
Salon of 1888: “The Workshop of a Breton Weaver”
He shows the canvas “The Workshop of a Breton Weaver” at the Salon; it receives an honorable mention, probably because of its conventionality, and his parents are reassured.
summer 1888
Pont-Aven: Gauguin and “The Talisman”
Having plucked up courage to approach Gauguin only on the eve of his departure, he is invited to paint a small landscape under Gauguin's guidance in the Pont-Aven woods, on the lid of a cigar box; so “The Talisman” is born, an exercise in Cloisonnism that approaches pure abstraction. Back in Paris he introduces Gauguin's ideas to his friends from the Académie Julian — Maurice Denis, Bonnard, Vuillard, Vallotton and Ranson, the future core of the Nabis: they do not accept the new principles in full but change their manner under their influence.
1889
Living with Gauguin at Le Pouldu
He visits Gauguin in Brittany several times and in 1889 settles with him at Le Pouldu for a long stay; from an academic student he becomes a modern painter.
1889
Meeting Filiger and de Haan
At Le Pouldu he meets other artists — Charles Filiger and the Dutchman Meijer de Haan.
early 1890s
Ideologist of the Nabis and a central figure of the early 1890s
He leads a whole movement, and many discoveries of Gauguin, who has left for Oceania, are attributed to him; the Nabis group (its name from the Hebrew word for “prophet”) proclaims a program of painterly Symbolism: emotions and symbols can be conveyed through the relationships of forms. The critic Albert Aurier calls him the first among the young artists in his article “The Symbolists” and promises him a great future.
