Émile Bernard
Émile Bernard ( born April 28, 1868 in Lille, † April 16, 1941 in Paris) was a French painter, graphic artist, art theorist and novelist. He is one of the most colorful personalities of early modern painting. As co-founder of Cloisonismus and synthetism he was involved in the 1880s to the upheaval the art experienced at that time. His writings and correspondence with Vincent van Gogh, Paul Gauguin and Paul Cézanne among the art history major sources of the late 19th century.
Life
Émile Bernard was born the son of an entrepreneur in the textile industry, and retired at the age of ten years with his parents to Paris. There he joined in 1884 at the age of 16 years in the studio of the academic painter Fernand Cormon, where he met Louis Anquetin and Henri de Toulouse- Lautrec. In 1886 he was expelled from Cormons studio because he Cormon and different artistic views represented. He then went on a hike through the Normandy and Brittany, where he met in Concarneau on Émile Schuffenecker. From this provided with a letter of recommendation to the twenty years his senior, Paul Gauguin, he traveled to Pont- Aven, however, where he initially had little contact with this artist.
After he had met in winter 1886/87 in Paris, Van Gogh, traveled Bernard - with Louis Anquetin - 1887 one more time in Brittany. 1888 developed in Pont- Aven, a fruitful collaboration with Gauguin and next to an intensive correspondence with van Gogh. This put the two artists in Paris in 1889 continued.
Bernards bold theories and his doctrinal statements aroused quickly stir among colleagues. Together with Louis Anquetin he developed new visual strategies that could sit up both van Gogh and Gauguin and for Eduard Dujardin, editor and art critic of the Revue indépendante the term coined Cloisonismus. In the brief weeks of their fruit as well as conflictual cooperation formulated and disseminated Bernard and Gauguin the principles of synthetism and thus wrote art history. Both are co-founders of what became known as the school of Pont- Aven. Even Bernard Gauguin instructed in zinc pressure and forged with him plans for the angedachte of Gauguin Atelier des Tropiques ( "Tropical Atelier ", the equivalent of van Gogh 's failed joint project Atelier du Midi, [" studio of the south" ] ).
In 1889 he participated in the Gauguin at the Paris World Exhibition in the Café Volpini organized counter - part art exhibition. Soon after, he went through a personal crisis, after Van Gogh's tragic death (1890) 1891 was the final break with Gauguin result. The cause was not last Bernards disappointment over a occasion of a banquet raised toast to " Paul Gauguin as the founder of Symbolism ." He threw Gauguin pretend to have all the achievements of the group of artists of Pont- Aven usurped, felt betrayed and betrayed.
Meanwhile, his personal situation was also charged. In 1888 was " the lot " fell on him, that is, he was conscripted and had to reckon with the collection. Benevolent medical reports pushed onto this while van Gogh letter zusprach him courage. In 1893 he escaped yet, he went on a trip to Italy and the Middle East and eventually settled with the support of patrons such as Antoine de la Rochefoucauld and Theo Van Gogh's brother Andries Bonger in Egypt down (then a British protectorate ), where he out of 1893-1904 lived and married.
In February 1904 returned to France, Bernard met in Aix -en- Provence to the painter Paul Cézanne, remained for a month to visit and in July published an article about him in the magazine L' Occident. There ensued a correspondence up to Cézanne's death; Bernard published his memoirs Souvenirs sur Paul Cézanne for the first time in 1906 in the " Mercure de France", and in 1912 they appeared in book form.
Émile Bernard died in 1941 in his Paris studio on the Ile Saint -Louis, 15 quai Bourbon.
Work
The reason for its individualistic conception of art excluded from Cormons studio in 1886, artists experimented, as well as van Gogh, with new painting techniques and first became interested in the Pointillism but enthusiastic like that very soon for the then fashionable Japanese woodblock prints. This inspired him to write a strong simplification and delineation of areas of color. For this style he developed in 1887 with Louis Anquetin, who was also influenced by Japonism, the Cloisonismus: not the delimitation of the object in the loose characteristic style of Impressionism, but more precise delineation and characterization was her concern.
A further development of Cloisonismus through the collaboration of Gauguin and Bernard (1888 /89) and its association with the symbolism justified the new art direction of synthetism, who remained loyal to Bernard, with interruptions, until he turned his back on France. Representative of this creative period, for example, Les Bretonnes aux Ombrelles (1892 ).
Among other things, diminished from 1889 a psychic and religious crisis his creative power. During this time he looked alternately inspiration in the works of Cézanne and those of the Italian masters, whose influence is felt in the Descent from the Cross ( 1890). Apart from that employed Bernard also with the works and the art of the medieval xylograph.
Finally, he turned during his stay in Egypt, a mystical or oriental traditionalism to which he defended by contributions in the journals Mercure de France and La Rénovation esthétique.
On the art market be paid today for Bernard oil painting up to 360,000 U.S. dollars.
Selections
Painting
Writings
- Propos sur l'art (I), ISBN 2-84049-031-5
- Propos sur l'art (II ), ISBN 2-84049-029-3
- L' Esclave nue, Roman
- La Danseuse persane, novel
- Le Parnassus oriental