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Note: The authenticity of this painting has been confirmed by Beatrice Recchi Altarriba of the Archives Emile Bernard and is included in her archive records.

1892 was a significant year for Bernard as he had broken with Gauguin in 1891 and as a result had been through a tumultuous artistic struggle. However, in 1892 …

Medium
Signature
Hand-signed by artist, Signed and dated L.L.
Frame
Included

Émile Bernard was a writer and a painter who maintained mutually influential friendships with Paul Gauguin and Vincent van Gogh, though he argued passionately with both. Bernard was accepted as a pupil at the atelier of Fernand Cormon, but was expelled for insubordination. He and his close friend Louis Anquetin felt disillusioned with Pointillism and rejected Neo-Impressionism. Instead the two pioneered a new style, later termed Cloisonnism, with the idea that the painted line was the antithesis of the painted dot. This new painting methodology was defined by a use of flat colors and forms that were outlined by strong, black contours; it followed the legacies of Paul Cézanne, Japanese woodcuts, enamel work, and stained glass.

High auction record
$2m, Sotheby's, 2019
Collected by major museums
Museum of Modern Art (MoMA), Indianapolis Museum of Art at Newfields
Selected exhibitions
2020
Hill-Stone, Inc. at IFPDA Fine Art Print Fair Online Fall 2020Hill-Stone, Inc.
2019
Rhythm of lines and colours in French Avant-GardeStoppenbach & Delestre
2018
Paintings From AfarMusée du quai Branly
View all

Eglise et Ferme Bretonnes, 1892

Oil on canvas
26 1/2 × 31 in
67.3 × 78.7 cm
.
$155,000 - 175,000
Location
New York, Port Chester
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Note: The authenticity of this painting has been confirmed by Beatrice Recchi Altarriba of the …

Medium
Signature
Hand-signed by artist, Signed and dated L.L.
Frame
Included

Émile Bernard was a writer and a painter who maintained mutually influential friendships with Paul Gauguin and Vincent van Gogh, though he argued passionately with both. Bernard was accepted as a pupil at the atelier of Fernand Cormon, but was expelled for insubordination. He and his close friend Louis Anquetin felt disillusioned with Pointillism and rejected Neo-Impressionism. Instead the two pioneered a new style, later termed Cloisonnism, with the idea that the painted line was the antithesis of the painted dot. This new painting methodology was defined by a use of flat colors and forms that were outlined by strong, black contours; it followed the legacies of Paul Cézanne, Japanese woodcuts, enamel work, and stained glass.

High auction record
$2m, Sotheby's, 2019
Collected by major museums
Museum of Modern Art (MoMA), Indianapolis Museum of Art at Newfields
Selected exhibitions (3)
Other works by Émile Bernard
Other works from Taylor | Graham
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