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Emile Bernard

France (Lille 1868 -  Paris 1941 ) Wikipedia® : Emile Bernard
BERNARD Emile  Adoration Des Bergers

Christie's /Jun 28, 2017
16,974.09 - 22,632.12
18,356.00

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Variants on Artist's name :

Nemo Ludovic

Emile Henri Bernard

 

Artworks in Arcadja
665

Some works of Emile Bernard

Extracted between 665 works in the catalog of Arcadja
Emile Bernard - View Of Tonnerre With Couple Beneath The Trees

Emile Bernard - View Of Tonnerre With Couple Beneath The Trees

Original
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Lot number: 1118
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Description: Émile Bernard (French, 1868-1941) View of Tonnerre with Couple Beneath the Trees. Signed "Emile Bernard" l.r. Oil on canvas, 21 3/4 x 18 1/8 in., framed. Condition: Two small abrasions to center, surface grime. N.B. The painting at hand has been reviewed by the artist's granddaughter, Dr. Lorédana Harscoët-Maire, who confirmed the work to be by Émile Bernard and identified the location as Tonnerre, where the artist lived, as seen from the top of Le Grippot.
Emile Bernard - Baigneuses Au Bord Du Nil

Emile Bernard - Baigneuses Au Bord Du Nil

Original 1893
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Lot number: 3243
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Description: EMILE BERNARD (Lille 1868 - 1941 Paris) Baigneuses au Bord du Nil. 1893. Oil on canvas. Signed lower right: Emil Bernard. 86.5 x 66 cm. Provenance: - Bernard-Fort. - P. Hamberg, Sweden. - Private collection, The Netherlands. Literature: - Hervier Bourges's letters to Emile Bernard, 1925, p. 141, letter AB. - Luthi, Jean-Jacques: Emile Bernard. Catalogue raisonné de l'oeuvre peint, Paris 1982, no. 410, p. 62 (with ill.). - Les Cahiers d'Art Documents, 1966, no. 225. - Luthi, Jean-Jacques: Emile Bernard, L'initiateur, 1974. - Luthi, Jean-Jacques/Israël, Armand: Emile Bernard, instigateur de l'École de Pont-Aven, précurseur de l'art moderne: sa vie, son oeuvre: catalogue raisonné, Paris 2014, no. 351, p. 197 (with ill.). Exhibitions: - Paris 1902, Le Salon des Orientalistes. - Paris 1912, Galerie Charpentier. - Musée Pont-Aven, 1960. - Musée Auvers, 1960. - Paris 1962, Jean-Claude & Jacques Bellier, Ély. - London 1964, Kaplan Galleries. - Cannes 1965, Galerie Du Carlton. - Pont-Aven 1968, Hotel de Ville (100 years after Emile Bernard's birth). - Stockholm 1968, Franska Institute. In 1893 Emile Bernard, only 25 years old, left France to begin a whole new chapter in his life and work. Even at this young age, he was already a very innovative, avant-garde painter at the forefront with the most important innovators of art. Among the motivations for his departure was the long-impending military draft which he wanted to avoid at any cost. Additionally, two events of the past few years had been difficult for him: the death of his good friend Vincent Van Gogh in 1890 and the quarrel with Gauguin. The latter claimed Symbolism, Cloisonnism, and the entire movement at Pont-Aven as his own, which understandably annoyed Bernard as he had been at least as innovatively involved in these modern developments in painting. There is not enough evidence to make a definite decision on this controversy, which is reflected in letters and pictures from around 1886 to 1892. It is, however, worth noting that Fénéon attributes Cloisonnism to Anquetin, who was a close friend of Bernard. Moreover, the religious works of Gauguin were undoubtedly inspired by Bernard. Thus Bernard, after the departure of Gauguin to Tahiti and after he had campaigned for the appreciation of Van Gogh with retrospectives in Paris, undertook his own long journey: via Florence, Constantinople and Jerusalem, headed for Cairo. He had long been attracted by Egypt, the country and the culture providing a fascination he had shared with Van Gogh in his letters. Similar to Brittany, he hoped to find an untouched culture there for him to examine. This painting, which was created shortly after his arrival in Egypt, is a typical example of Bernard's work from that period. Androgynous water bearers and bathers on the banks of the Nile are nude, only adorned by bracelets and anklets, as he often depicted at the time. Presenting a strong contrast to this is a seated elderly woman dressed in black robes. She is likely a nun, as Bernard found shelter in a religious order during that time and later married a Syrian Christian. He was additionally fascinated by the contrasts and connections between nature and religion. The Nile, as a sign of giver of life and also as the ultimate origin of culture, brings together very different actors here. The theme of the bathers could also be a direct reference to the famous group of works by Cézanne, on which he had recently been working (1890). The posture of the standing figures is very reminiscent of certain figures used by Cézanne in those works. Both Cézanne and Bernard made use classical models from Antiquity and the Renaissance, which Bernard encountered on his travels. Contemporaneous to this work, Bernard created a tapestry with the same motif. He was highly interested in tapestries, as he desired to not limit himself to only the classic techniques. In addition to tapestries, he also created woodcuts and furniture during the time of Pont-Aven. The present work therefore very clearly shows that Bernard continued to hold to his ideals in Egypt and, like Gauguin, created his own interpretation of remote civilisations. He seems aware that there must always be a reference, at least for the viewer. Thus, he anticipates the realisation formulated in Claude Lévi-Strauss's "Tristes Tropiques" that the observer of a foreign culture never functions without mutual influence. --------------- EMILE BERNARD (Lille 1868 - 1941 Paris) Baigneuses au Bord du Nil. 1893. Öl auf Leinwand. Unten rechts signiert: Emil Bernard. 86,5 x 66 cm. Provenienz: - Bernard-Fort. - P. Hamberg, Schweden. - Privatsammlung Niederlande. Literatur: - Hervier Bourges's letters to Emile Bernard, 1925, S. 141, Brief AB. - Luthi, Jean-Jacques: Emile Bernard. Catalogue raisonné de l'oeuvre peint, Paris 1982, Nr. 410, S. 62 (mit Abb.). - Les Cahiers d'Art Documents, 1966, Nr. 225. - Luthi, Jean-Jacques: Emile Bernard, L'initiateur, 1974. - Luthi, Jean-Jacques/Israël, Armand: Emile Bernard, instigateur de l'École de Pont-Aven, précurseur de l'art moderne: sa vie, son oeuvre: catalogue raisonné, Paris 2014, Nr. 351, S. 197 (mit Abb.). Ausstellungen: - Paris 1902, Le Salon des Orientalistes. - Paris 1912, Galerie Charpentier. - Musée Pont-Aven, 1960. - Musée Auvers, 1960. - Paris 1962, Jean-Claude & Jacques Bellier, Ély. - London 1964, Kaplan Galleries. - Cannes 1965, Galerie Du Carlton. - Pont-Aven 1968, Hotel de Ville (100 Jahre nach Emile Bernards Geburt). - Stockholm 1968, Franska Institute. Der erst 25-jährige Emile Bernard bricht 1893 von Frankreich auf, um ein ganz neues Kapitel in seinem Leben und Werk zu beginnen. Er ist zu diesem Zeitpunkt ein für sein noch junges Alter bereits sehr innovativer, avantgardistischer Maler, der mit den bedeutendsten Erneuerern der Kunst an vorderster Front wirkt. Der Grund für seine Abreise ist unter anderem die schon länger drohende Einziehung ins Militär, welche er um jeden Preis umgehen will. Ausserdem setzen ihm zwei Ereignisse der letzten Jahre schwer zu: Der Tod seines guten Freundes Vincent Van Gogh 1890 und das Zerwürfnis mit Gauguin. Dieser reklamierte den Symbolismus, den Cloisonismus und die ganze Bewegung von Pont-Aven einzig für sich, was Bernard verständlicherweise verärgert, denn er ist mindestens so innovativ beteiligt gewesen an diesen Entwicklungen der modernen Malerei. Das Beweismaterial reicht nicht aus, diese Kontroverse, die sich von etwa 1886 bis 1892 in Briefen und Bildern niederschlägt, definitiv entscheiden zu können. Es ist aber bemerkenswert, dass Fénéon den Cloisonismus auf Anquetin zurückführt, der ein enger Freund Bernards war. Und die religiösen Arbeiten Gauguins sind zweifellos durch Bernard inspiriert worden. So kommt es, dass Bernard sich nach der Abreise Gauguins nach Tahiti, und nachdem er sich in Paris noch für die Würdigung Van Goghs einsetzt, auf seine eigene längere Reise macht: Über Florenz, Konstantinopel, Jerusalem steuer er Kairo an. Ägypten, ein Land und eine Kultur für die er seine Faszination schon mit Van Gogh in seinen Briefen teilt. Er hofft dort eine ähnlich ursprüngliche Kultur wie die bretonische zu finden, mit der er sich auseinandersetzen kann. Dieses Gemälde, welches kurz nach der Ankunft in Ägypten entsteht, ist ein typisches Beispiel der Malerei Bernards zu dieser Zeit. Androgyne Wasserträgerinnen und Badende am Ufer des Nils sind nackt, nur durch die damals oft von ihm dargestellten Hand- und Fussringe geschmückt. In starkem Kontrast dazu sitzt eine in schwarzer Kutte gekleidete, ältere Frau. Es dürfte sich wohl um eine Nonne handeln, da Bernard in dieser Zeit bei einem religiösen Orden Unterschlupf findet und später auch eine syrische Christin heiraten wird. Ausserdem faszinieren ihn die Kontraste und Verbindungen von Natur und Religion. Der Nil als Symbol des Lebensspenders und letztlich auch als Ursprung der Kultur überhaupt versammelt hier sehr unterschiedliche Akteure. Das Thema der Badenden könnte auch eine direkte Bezugnahme zur berühmten Werkgruppe Cézannes sein, an welcher dieser seit kurzem (1890) arbeitet. So erinnert z. B. die Haltung der Stehenden sehr an einzelne von Cézanne in diesen Werken verwendete Figuren. Beide, Cézanne und Bernard bedienen sich klassischer Vorbilder der Antike und der Renaissance, welchen Bernard auf seinen Reisen begegnet. Zur gleichen Zeit schafft Bernard eine Teppicharbeit gleichen Motivs. Die Teppicharbeiten interessieren ihn sehr, weil er sich nicht nur auf die klassischen Techniken beschränken will. So schafft er schon in der Zeit von Pont-Aven neben Teppichen, Holzschnitte und auch Möbel. So zeigt das Werk sehr deutlich auf, dass Bernard in Ägypten weiter an seinen Idealen festhält und wie Gauguin seine eigene Interpretation ferner Zivilisationen entwirft. Ihm scheint es bewusst, dass es immer auch einen Bezug, mindestens zum Betrachter geben muss. So nimmt er damit die in Claude Lévi-Strauss‘ Hauptwerk „Tristes Tropiques“ formulierte Erkennis vorweg, dass die Beobachtung einer fremden Kultur nie ohne gegenseitigen Einfluss funktioniert.
Emile Bernard - Les Faneuses Dans Un Pré

Emile Bernard - Les Faneuses Dans Un Pré

Original 1887
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Lot number: 53
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Émile Bernard LES FANEUSES DANS UN PRÉ, 1887 oil on canvas Signed Emile Bernard and dated 1887 lower left 35,5 x 43,5 cm ; 14 x 17 1/8 in. Maître Georges Blache, Versailles, June 7, 1978, lot 15 Japan, Gifu, Gifu Museum of Art, Tournant de la peinture entre la seconde moitié des années 1880 et les années 1890, théories artistiques et peinture française, 1993, no. 47 Paris, Galerie Malingue, Emile Bernard, époque de Pont-Aven, May 21- July 17, 2010 Tournant de la peinture entre la seconde moitié des années 1880 et les années 1890, théories artistiques et peinture française, exhibition catalogue, Japan, Gifu, Gifu Museum of Art, 1993, illustrated p. 38 Emile Bernard, époque de Pont-Aven, exhibition catalogue, Galerie Malingue, Paris, May 21 - July 17, 2010, illustrated Jean-Jacques Luthi and Armand Israël, Emile Bernard Instigateur de l'Ecole de Pont-Aven Précurseur de l'art moderne, Sa vie, Son Œuvre, Catalogue raisonné, Paris, 2014, no. 137, illustrated p. 160 Lucrezia Argropoulos Recchi has kindly confirmed the authenticity of this work. Painted in 1887, Les Faneuses dans un pré is a key work that attests to the perspicacity and daring of Emile Bernard\\\’s vision. In 1886, having been dismissed from Ferdinand Cormon\\\’s studio where Anquetin and Toulouse-Lautrec were his friends, Bernard discovered Brittany, sleeping in barns and sharing the meals of the farmers. That year, the eighth and last Impressionist Exhibition was on show as were exhibitions of Seurat\\\’s and Signac\\\’s work presented in October in Paris. However, Bernard\\\’s study of divisionist paintings left him dissatisfied: if the method was interesting for its vibrant treatment of colour, it also had the effect of stripping colour down. Bernard began the search for another, different procedure. In March 1887, Bernard decided to abandon Neo-impressionism for a new style where his choice of chromatic simplification in conjunction with an intensification of colour meant that ideas dominated form. The notion of Cloisonism as a method and Symbolism as a theme began to take form. In the Spring of the same year, Bernard left Brittany; in July he was in Pont-Aven. He was not close to Gauguin at that time as the latter was in Martinique, working on Synthetism which would see the day in 1888, the year when Bernard and Gauguin stayed at the Gloanec guest house during a period of intense and fruitful collaboration. Sérusier\\\’s Talisman which would become a Nabis icon was soon to come. In 1887, at the period when he painted Les Faneuses dans un pré, Bernard met frequently with Van Gogh. The two painters met at Père Tanguy\\\’s boutique where Bernard was in the habit of leaving his works since 1886. The painting Les Faneuses dans un pré is covered with rapid brushstrokes which give prominence to the chromatic audacity of remarkable maturity. At a time of great agitation, in the archaic landscape of a thousand-year-old Brittany, the symbiosis of man and earth can be found in the unprecedented conjunction of brushstroke and colour.
Emile Bernard -  Adoration Des Bergers

Emile Bernard - Adoration Des Bergers

Original 1888
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Lot number: 261
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Émile Bernard (1868-1941) Adoration des bergers signed and inscribed 'Emile Bernard peint grandeur nature à St-Briac en 1888. sur le mur de ma chambre. long. 5 met haut. 2 met.' (lower edge) pen and ink and pencil on paper 8 ¾ x 15 ¾ in. (22.1 x 40 cm.) Executed in Saint-Briac in 1888 Béatrice Recchi-Altarriba has confirmed the authenticity of this work. Bernard was commissioned in 1888 to create a fresco for a bedroom in the house of Madame Lemasson, for which he created the biblical scene L\\\’Adoration des Bergers. The original fresco was sadly destroyed by Nazi bombing in 1943, leaving this unique sketch and discussions of the work in letters to his mother and Van Gogh remaining. Bernard draws on primitive and byzantine techniques of representing a religious scene; the figures are aligned in a frieze-like manner as though they were adorned on a stained glass window in a church, and the pillars in the work were designed to create a trompe l\\\’œil effect that resembled the architecture of the bedroom the fresco sat in. In the finished fresco Bernard used the medieval colour palette of primary colours, however in this sketch the simplified figures and monochromatic palette appear modern and draw on the primitive style adopted by Bernard\\\’s contemporary Gauguin around the same time.
Emile Bernard - Femme Assise Sur Un Canapé Rose

Emile Bernard - Femme Assise Sur Un Canapé Rose

Original 1887
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Lot number: 25
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Émile Bernard FEMME ASSISE SUR UN CANAPÉ ROSE 1868 - 1941 Oil on canvas 12 1/4 by 15 3/4 in. 31 by 39.9 cm Painted circa 1887. Lucrezia Argyropoulos Recchi has kindly confirmed the authenticity of this work. Gabriel-Albert Aurier, Paris (acquired before 1892) Private Collection, France (by descent from the above) Acquired from the above by the present owner Exhibited Mannheim, Städtische Kunsthalle Mannheim & Amsterdam, Van Gogh Museum, Émile Bernard, 1868-1941, A Pioneer of Modern Art, 1990, no. 40 Literature Jean-Jacques Luthi & Armand Israël, Emile Bernard—sa vie, son oeuvre, catalogue raisonné, Paris, 2014, no. 82, illustrated in color p. 149 Painted circa 1887, Femme assise sur un canapé rose is a striking composition from the artist's early oeuvre. Bernard's most notable compositions date from his early career when he was friends with the leading members of the late nineteenth-century art world including Vincent van Gogh, Paul Gauguin and Eugène Boch. The present work was painted when he was living in the Pont-Aven, just a year after he first met Gauguin. The present work is distinguished by important early provenance. The first owner of Femme assise sur un canapé rose was Gabriel-Albert Aurier (1865-1892), the French poet, art critic and artist. An artist in his own right, Aurier was also a close friend and supporter of artists including Vincent van Gogh, Paul Gauguin, Pierre Bonnard and Émile Bernard. Due to his close friendship with these artists, Aurier amassed a considerable collection of paintings most notable those by van Gogh which were acquired upon his death by Helene Kröller-Müller and later donated as the founding collection of the Kröller-Müller Museum, Otterlo. While most of Aurier\’\’\’\’s collection of works by van Gogh now reside in the Kröller-Müller Museum in The Netherlands, many works by other artists, including Femme assise sur un canapé rose remained with his estate for nearly 125 years.
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