Couple de paysans bretons, Émile Bernard, 4e quart 19e siècle
Bernard, Emile肖像Bernard, Emile法国, 1868–1941

Couple de paysans bretons

4e quart 19e siècle · Drawing · 22.7 × 21.5 cm

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蓬塔旺, 法國

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作品信息

馆藏编号
2022.6.2 ; D 2020.1.24 / D 2020.3.4

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出处

  • 蓬塔旺美术馆
  • 图片: 蓬塔旺美术馆 — © Photo Laurent Bruneau - Procolor-29qle; Ministère de la Culture (France), base Joconde

与此同时,在Bernard, Emile的生活中

完整生平
  1. 1884–1885 · 工作地

    Paris

  2. 1886

    First meeting with Gauguin in Pont-Aven

    In August 1886 in Pont-Aven Bernard meets Gauguin for the first time; they exchange little about art but look forward to meeting again. Looking back, Bernard said his own talent was already fully developed, and he believed that his style played a considerable part in the development of Gauguin's mature style.

  3. 1887

    Cloisonnism, developed together with Anquetin

    In 1887 Bernard and Louis Anquetin develop cloisonnism — bold forms separated by dark contours; in the spring they “turn against Neo-Impressionism”. Many, however, credit Anquetin with the technique, and Bernard was probably also influenced by the works of Cézanne he had seen.

  4. 1888

    On foot to Pont-Aven: friendship with Gauguin

    A year later Bernard again sets out for Pont-Aven on foot and sees Gauguin; their friendship and artistic partnership quickly grow strong. Bernard wants an art of the most extreme simplicity, accessible to all and practised collectively, and Gauguin is impressed by his ability to put his ideas into words. Other accounts have him living in Pont-Aven in 1886–1888 and joining the Pont-Aven group.

  5. 1890

    A religious crisis and a turn to the Middle Ages

    In 1890 Bernard goes through a religious crisis and turns to the subjects and themes of medieval art. In the same year he sets out to revive symbolism, which he saw as Christian in essence — the invisible expressed through the visible.

  6. 1891

    The break with Gauguin

    In 1891 Bernard breaks off his friendship with Gauguin. It was always his great frustration that Gauguin never named him as an influence on pictorial symbolism; one writer says his rivalry with Gauguin led him “out of spite” towards classicism.

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