#LesNabis #Swiss #french #painter #artist

Félix Edouard Vallotton (1865-1925)
Sitzender Frauenakt

Paul Sérusier was one of the founders of the French avant-garde Les Nabis movement. The Nabis – “prophet” in Hebrew – saw themselves as the prophets of modern art, moving art from Impressionism towards greater abstraction. Sérusier was a great admirer of Paul Gauguin, from whom he adopted certain color harmonies and flattened forms. “Synchrony in Green” is one of a series of Sérusier’s paintings (“Synchronies”) in which he explored his evolving personal color theories that involved the separation of warm and cool colors. In “Synchrony in Green”, the yellow lemons truly pop against the tonal background.

March theme: When Life Gives You Lemons...
PAUL SÉRUSIER (1864 – 1927), “Synchrony in Green”, 1913. Museo de Bellas Artes de Bilbao, Spain.
#arthistory #art #lemons #LesNabis

French painter, decorative artist, and printmaker Edouard Vuillard

Woman in Front of the Fireplace, 1915
#LesNabis #WinterVibes

Figures are seating on a beach near a jetty on which a lighthouse stands. In the background is a calm bay with hills in the distance and a sky tinted with pastel hues.

#LighthouseArt of the Day

Félix Édouard Vallotton (Swiss and French, 1865-1925), The jetty of Honfleur, 1920, oil on canvas.

Private collection, via Sotheby's, sothebys.com

#art #artsky #seascape #lighthouse #phare #LesNabis #FrenchArt

French Israeli artist Nathanaëlle Herbelin presents a gentle dialogue with French artist Pierre Bonnard’s painting "Woman with a Cat" from 1912, long housed at Musée d'Orsay in Paris, but swaps nostalgia for a present-tense, female gaze. Here, the cat’s mischievous agency eclipses its human (now more motif than muse) while the everyday rituals of eating, caretaking, and sharing space with an animal become the drama. The square canvas frames a quiet, domestic scene. A young woman, the artist's sister Emmanuelle, with long straight brown hair sits at a small dining table draped in a pale cloth as wooden chair back peeks at the edge. Her posture is soft but alert, gaze lovingly lowered toward a flamboyant cat, Efi, poised like a tiny monarch at table height. A used plates, cupsof coffee, and a jar of honey sit near a bowl of milk with a spoon and an hard-boiled egg holder that might be the cat’s true quarry. Lighting is even and close, flattening perspective so tabletop, wall, and body read as adjoining planes. Herbelin's brushwork is tender and economical as warm earths and chalky whites mingle with midnight accents, recalling Nabi palettes while feeling entirely contemporary. The gray and white tabby cat’s arched neck and contentment with have her ears scratch becomes the liveliest line in the room, pulling the viewer’s attention across the table’s quiet geometry to this intimate exchange of appetite, affection, and routine. Emmanuelle’s profile and the spare tabletop distill the scene into shapes and pulses of color. Made for Herbelin’s 2024 Orsay contemporary exhibition “Être ici est une splendeur,” where her canvases were shown alongside the Nabis, the work typifies her approach of intimate interiors, pared-down drawing, and a chromatic hush that feels like memory held in the hand. Born in Israel in 1989 and trained at the École des Beaux-Arts de Paris, Herbelin's paintings live in the present, mapping tenderness, kinship, and care onto contemporary life.

"Emmanuelle et Efi" by Nathanaëlle Herbelin (French-Israeli) – Oil on canvas / 2024 – Musée d’Orsay (Paris, France) #WomenInArt #art #artText #artwork #MuseeOrsay #WomanArtist #NathanaelleHerbelin #NathanaëlleHerbelin #Herbelin #WomensArt #LesNabis #Muséed'Orsay #IsraeliArtist #CatArt #WomenArtists

Pierre Bonnard

- Nude Against the Light, 1908
- Nude on the Chair, 1935-1938
- Nude in the Bath and Small Dog, 1941-1946

“One always talks of surrendering to nature. There is also such a thing as surrendering to the picture.”

#nabigroup #lesnabis #postimpressionism #intimism #arthistory

Painted in 1924, near the end of Swiss-French artist Félix Vallotton’s life, this “simili-portrait” belongs to a series in which he sought to “represent human types rather than individuals,” using unnamed sitters to test contrasts of color, texture, and form. Here, a "modern woman" of the 1920s with short hair, cosmetics, and off-the-shoulder loose dress becomes an emblem, not a likeness. She sits close to the picture plane, cropped below the waist, her body turned slightly as if pausing while reading to look directly at us. Her eyes are almond-shaped and heavy-lidded, edged with subtle eyeliner and neat, arched brows as their dark irises glint small highlights. A sea-blue satin dress slips off one shoulder while matching blue drapery gathers at her forearm, setting up a play of reveal and conceal. Her bobbed dark hair frames a made-up face as her skin appears sun-warmed against a flat, warm background that keeps all attention on the figure. Edges are crisp, volumes simplified, and the silk fabric come across as cool planes of color rather than rippling folds. There is no ocean yet the title suggests briny air and a recent shore, an atmosphere echoed by the dress’s blue and the model’s poised, modern self-possession. The scene is quiet, frontal, and deliberately anonymous. The cool detachment of Vallotton’s late style, often summarized as “fire beneath the ice,” is everywhere: sensual shoulder and satin are offset by an implacable stillness and exacting contour. Geneva’s museum lists an earlier title, Femme à la draperie bleue, underscoring how fabric and hue carry the picture’s meaning. Acquired in 1929, the work was featured in the major retrospective "Vallotton. Le feu sous la glace" (Grand Palais, Van Gogh Museum, Mitsubishi Ichigokan), reaffirming how these distilled “types” compress symbol, fashion, and psychology into a single, unforgettable pose.

Le Retour de la mer (Return from the Sea) by Félix Vallotton (Swiss-French) – Oil on canvas / 1924 – Musée d’Art et d’Histoire de Genève (Switzerland) #WomenInArt #LesNabis #Post-Impressionism #BlueskyArt #FélixVallotton #FelixVallotton #Vallotton #art #artText #1920s #Muséed’Artetd’HistoiredeGenève

#PierreBonnard was born in France #OnThisDay in 1867; the #Japonaiserie of "Le marabout et les quatres grenouilles" (The Stork & the Four Frogs) (1889) shows #LesNabis' interest in Japanese #art...

en.wikipedia.org/wiki/Pierre_...

#PierreBonnard was born in #France #OnThisDay in 1867; the #Japonaiserie of "La Promenade des Nourrices" (The Nannies' Promenade) — created in the style of a #Japanese shoji screen — (1899) shows #LesNabis' interest in Japanese art...

en.wikipedia.org/wiki/Pierre_...

Pierre Bonnard by Pierre Bonnard, 1889, École des Beaux-Arts (Paris, France)

#ArtHistory #ModernArt #PostImpressionism #LesNabis

A white lighthouse tower stands on the left of the image at the end of a jetty on a narrow inlet, its image reflected in the mirror-still water. Figures are standing along the jetty, looking out to the water. On the opposite shore to the right of the image the shoreline rises to a grassy field; a pole or marker is standing near the water's edge, as us an overturned rowboat. Purple hills are on thr distant horizon. The image is suffused with muted blue, pink, and purple hues, suggesting twilight.

#LighthouseArt of the Day

Félix Édouard Vallotton (Swiss and French, 1865-1925), Le port d'Honfleur, 1920.

Private collection, via Artcurial Beurret Bailly Widmer, bbw-auktionen.com

🧵 1/2

#art #artsky #BlueSkyMonday #MaritimeArt #FrenchArt #EuropeanArt #LesNabis

"In Silt of Honfleur, a military flotilla is positioned in the distance in the Bay of Le Havre, ready to intervene. To the left, in the shadows, stands the silhouette of the Honfleur lighthouse, taking on the appearance of a crenellated tower, a paltry defensive architecture facing the immensity of the open sea. The waves created by the ebb and flow echo the undulations of the clouds. The water and the sky are treated in the same shades of yellow and light gray. In the foreground, long black brushstrokes represent the rising surface of the alluvium and the two lines barring the horizon; they prevent any fusion of the elements and contribute to accentuating the oppressive atmosphere. The ships seem stuck like the sediments deposited and anchored over time in the Seine estuary. The calm sea, the cold light, the humid air, and the seemingly frozen state of time cast doubt on an immediate and happy outcome. The wait will still be long." Translation of the French description of the painting on the site of the Lausanne Canton Museum of Fine Arts.

#LighthouseArt of the Day

Félix Vallotton (Swiss and French, 1865 - 1925), Silt of Honfleur, 1917, oil on canvas.

Via Musée cantonal des Beaux-Arts de #Lausanne, mcba.ch

🧵 1/2

#lighthouse #MaritimeArt #art #artsky #oilpainting #phare #LesNabis #Nabis #FrenchArt #SwissArt #modernism

With the change of the century, Vallotton shifted his focus from printmaking to oil painting. Before 1900, the artist concentrated on precisely reproducing the world around him, but as seen in this painting, Vallotton's work shows hints of ambiguity. The greenery blends together, and the distant horizon is described in simple curves of hills or clouds that fade into the sky.

Corn Fields by Félix Vallotton, 1900,
The Cleveland Museum of Art (Cleveland, OH)

#ArtHistory #ModernArt #PostImpressionism #LesNabis

Aïcha Goblet (born Madeleine Julie Gobelet) 1894 - 1972) was a French artists' model and dancer, a figure of the Années folles in 1920s Paris. Michel Fabre has stated that Aïcha Goblet paved the way for Joséphine Baker. In addition to Valloton Aïcha modeled for Pascin, Man Ray, and Matisse, among others. Aïcha's Wikipedia bio reveals a fascinating woman. It's worth checking out.

Félix Vallotton (Swiss, 1865 - 1925) • Aïcha Goblet • 1922 • Private collection (See ALT text) #art #FélixValloton #painting #OilPainting #LesNabis #AïchaGoblet #ArtistsModel #Early20thCenturyEuropeanArt #20thCenturyArt #portrait #BlueSkyArtLovers #ArtHistory #Art&Beauty #WomenInArt

Pierre Bonnard 🇫🇷👨🏻‍🎨, fallece el #23Enero de 1947🙏🏻Miembro del grupo "los nabis" (admiradores de arte 🇯🇵), en su obra destaca el color, los gatos, así como su principal musa Marie Boursin #FelizJueves #BuenJueves #PierreBonnard #LesNabis

Félix Vallotton (Swiss, 1865 - 1925) • Woman with roses • 1919
#fineart #art #painting #20thCenturyEuropeanArt #FélixVallotton #LesNabis #ModernArt #portrait #OilPainting #ArtandBeauty #FavoriteArtist

dream like oil painting of a sleeping woman in bed with a tartan patterned blanket and gold embellished floral cover

félix vallotton
sleeping woman
1899

#art
#arthistory
#modernart
#findesiècle
#lesnabis
#magicrealism
#sleepstudy