The Impressionists

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The Impressionists, Fauves, and the Cubists are but a few of the innovative groups of artists who, despite the fame they enjoy today, met with overwhelmingly negative criticism during their time. In 1888 another group of young painters was formed. They proclaimed themselves “the Nabis”, from the Hebrew word for prophet. They began in Pont-Aven when one artist revealed to another that there were other ways of painting than those taught at the Academy Julian. They began painting landscapes in pure colors side by side with no transition between them. In this play of color and shape the artists saw a mysterious amulet with a secret meaning that had to be decoded bit by bit. To reduce the elements of a scene to an interplay of shapes and colors became the Nabis’ credo. The Nabis dreamed of a world made better through art that would express ideal beauty and the nobility of feelings. Although they remained friends, after 100 the Nabis sought out their own personal paths. Two of these painters, Edouard Vuillard and Pierre Bonnard, form, color and content remained similar throughout their career.

Edouard Vuillard was born in 1868in Cuiseaux, a tiny French town near the Swiss border. At age nine, he moved with his family to Paris. His father, a retired army officer, died several years later, leaving his mother with three children and only a small income. She came from family of textile designers, and to make a living she first operated a lingerie shop and then a dressmaking business. Edouard lived with his mother, his greatest supporter, for her entire life. In 1888, Vuillard studied briefly at the Ecole des Beaux-Arts under Jean-Leon Gerome, but disliked the conservative approach. Along with the other Nabis, Vuillard first made small expressive paintings of interiors using flat

bands of color, then began adding detailed surface patterns to his work. By the turn of the century he was making striking, large-scale decorative wall paintings and folding screens, and later, portraits of prosperous French families. While Vuillard’s art remained figurative, his intense focus on the picture itself would foreshadow elements of abstraction in the twentieth century. Vuillard died at the beginning of World War II, just as the quiet, domestic world he had painted for so many years was about to be shattered.

Pierre Bonnard spent his childhood in the village of Le Grand-Lemps, which served as subject matter in his early paintings. While earning a law degree, Bonnard simultaneously attended art classes at the Academy Julian in Paris. There Bonnard worked in the most varied of formats, designing posters, book illustrations, sheet music, theater programs, stage sets, costumes, and stained glass windows, while also producing drawings and lithographs for newspapers and magazines and experimenting with photography. The diversity of his art reflects a profound philosophical unity. His aim from the beginning was to create a personal vision without convention. Bonnard’s thinking was accompanied by an obsession to recover his initial perception, what he later called, “finding again the first sensation.” This thinking carried on to all of his artwork until his death in 147 at the age of 80.




Edouard Vuillard’s “Foliage Oak Tree and Fruit Seller” was painted in 118 and is distemper on canvas. Vuillard painted this tapestry-like image for the Paris residence of art dealer George Bernheim. Here he is depicting the view from his mother’s second-floor bedroom in the villa Closerie des Genets at Vaucresson, a western suburb of Paris. The Vuillard family rented this villa every summer until 15. The heavily encrusted

paint surface of soft greens and blues forms a dense screen of foliage through which can be seen women, including the fruit seller of the title. Vuillard organized the complex patterns and shapes formed by leaves, branches, and fencing around the prominent tree trunk in the foreground. Vuillard began this painting during the final year of World War I.

Pierre Bonnard’s “Earthly Paradise” was painted between 116 and 10 and is oil on canvas. This richly colored canvas is one of four decorative panels commissioned for Gaston Bernheim. The lush outdoor setting is filled with Biblical allusions to Eden. The nude couple symbolized Adam and Eve surrounded by numerous animals including a monkey, birds, rabbits, and a snake. The implied tension between the remote and distant man and the seductively posed reclining woman suggests the Biblical fall from grace, and may also allude to a romance in Bonnard’s life. The painter communicated his smoldering vision of a lost paradise with the brilliant hues and fluid brushwork that date back to the impressionism.

Both “Earthly Paradise” and “ Foliage Oak Tree and Fruit Seller” are abstract paintings. While different artists painted these paintings, you would not know that by just looking at them. The brush stroke and use of color are very similar. Bonnard uses unusual colors for different objects. An example of this is the blue tree. Vuillard does the same with the purple background. Both painting are using nature and foliage as a form of paradise or escape from what is really going on in the world. While “Earthly Paradise” shows a type of heaven, “Foliage..” shows reality. Vuillard’s painting is of

what he saw while looking out his window. Bonnard’s painting is of what he wishes he saw outside his window.

While the settings of these painting may be different, both share the same meaning and purpose. The paintings were painted so the people looking at them would feel calm and happy. How can one not look at “Earthly Paradise” and not think about how the world or they’re own life should be? Both Bonnard and Vuillard belonged to the Nabis and were friends for many years. Because of these two paintings it is obvious that they each had an effect on one another. It is almost as though the same painter painted both. These painting are proof that the Nabis shared the same ideas regarding form, color, and content.



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