Emile Bernard 1868-1941.
Flammarion| N° d'inventaire | 18738 |
| Format | 22 x 28.5 |
| Détails | 248 p., color illustrations, paperback. |
| Publication | Paris, 2014 |
| Etat | Nine |
| ISBN | |
Painter, engraver, but also art critic, writer and poet, Émile Bernard is a major figure whose crucial place in the development of modern art has not always been recognized. At the end of the 1880s, he inaugurated the cloisonnist style, dialoguing with Gauguin and Van Gogh within the center of pictorial innovation that was then Pont-Aven. After the controversy over the invention of symbolism in painting, which in 1891 violently pitted him against Gauguin, Bernard settled in Cairo, without however losing contact with Paris. This Egyptian exile was the place of a profound transformation that led him to reconsider schematic stylization and the search for symbolist primitivism. The discovery of the old masters would, however, encourage him to gradually reconnect with tradition, in paintings of a monumental character. Back in France, in 1904 he was the first to go to Aix to see Cézanne, about whom he left fundamental testimonies and who would have a profound impact on him. His painting was then intended to be polemical. But, far from being defined by an outdated traditionalism, his art always bears the mark of a curious and tormented personality, in search of the artistic absolute. This book, accompanying the first retrospective devoted to the painter in France, will allow us to discover the long career of this protean artist.
Painter, engraver, but also art critic, writer and poet, Émile Bernard is a major figure whose crucial place in the development of modern art has not always been recognized. At the end of the 1880s, he inaugurated the cloisonnist style, dialoguing with Gauguin and Van Gogh within the center of pictorial innovation that was then Pont-Aven. After the controversy over the invention of symbolism in painting, which in 1891 violently pitted him against Gauguin, Bernard settled in Cairo, without however losing contact with Paris. This Egyptian exile was the place of a profound transformation that led him to reconsider schematic stylization and the search for symbolist primitivism. The discovery of the old masters would, however, encourage him to gradually reconnect with tradition, in paintings of a monumental character. Back in France, in 1904 he was the first to go to Aix to see Cézanne, about whom he left fundamental testimonies and who would have a profound impact on him. His painting was then intended to be polemical. But, far from being defined by an outdated traditionalism, his art always bears the mark of a curious and tormented personality, in search of the artistic absolute. This book, accompanying the first retrospective devoted to the painter in France, will allow us to discover the long career of this protean artist.