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641:; 1891), the women in the workshop are assembled out of areas of color. The faces, seen from the side, have no details. The patterns of their costumes and the decor dominate the pictures. The figures include his grandmother, to the left, and his sister Marie, in the bold patterned dress that is a central feature of the painting. He also placed a mirror on the wall to the left, a device which allowed him to give two points of view simultaneously and to reflect and distort the scene. The result is a work that is deliberately flattened and decorative.
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1502:, Switzerland) was at the time the only one of the three known to still exist and to have been fully confirmed as a genuine Vuillard. With assistance from art experts, the program undertook an exhaustive investigation and analysis of the Tutt painting, as well as carrying out extensive research to establish the painting's provenance. After submitting all the evidence to a committee at the secretive and highly conservative
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apartment. The one man in the series, presumably Vaquez himself, is shown in his library reading, paying little attention to the woman sewing next to him. The figures in the panels are almost entirely integrated into the elaborate wallpaper, carpet, and patterns of the dresses of the women. Art critics immediately compared the works to medieval tapestries. The paintings, completed in 1896, were originally titled simply
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534:(Figures in an Interior) were made for the Natanson brothers, whom he had known at the Lycée Condorcet, and for their friends. They gave Vuillard freedom to choose the subjects and style. Between 1892 and 1899, Vuillard made eight cycles of decorative paintings, with altogether some thirty panels. The murals, though rarely displayed during his lifetime, later became among his most famous works.
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three paintings of the factories at work. He served briefly, from 2 February to 22 February, as an official artist to the French armies in the region of the Vosges, making a series of pastels. These included a sympathetic sketch of a captured German prisoner being interrogated. In August 1917, back in Paris, he received a commission from the architect
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investigated a painting owned by
British scriptwriter Keith Tutt, which both he and the previous owners, Mr. and Mrs. Warren, believed to be by Vuillard. The oval painting, which depicts a café scene, was thought to be one of a group of three paintings commissioned from Vuillard in 1918 to decorate a
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Vuillard frequently painted interior scenes, usually of women in a workplace, at home, or in a garden. The faces and features of the figures in these scenes are rarely articulated in detail; instead
Vuillard often places greater focus on the patterns and planes of wallpaper, carpets, and furnishings.
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is a series of six panels depicting children in the parks of Paris. The patrons, Alexander
Natanson and his wife Olga, had three young daughters. The paintings show a variety of different inspirations, including the medieval tapestries at the Hotel de Cluny in Paris that Vuillard greatly appreciated.
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In the late 1990s, the
National Gallery of Canada discovered that Édouard Vuillard's The Salon of Madame Aron (1904, reworked in 1934), which it had purchased in 1956, belonged to the Lindon family in France. The gallery contacted the descendant who, surprisingly, insisted that the artwork had never
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In 1900, Vuillard met Lucy Hessel, wife of a Swiss art dealer, who became his new muse, traveling with him each year to
Normandy in July, August and September, and giving him advice. She remained with him, despite many rivals and many dramatic scenes, until the end of his life. In addition to Misia
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Vuillard was unmarried, but his personal life and his work were greatly influenced by his women friends. In the late 1890s he began a long relationship with Misia
Natanson, the wife of his important patron, Thadée Natanson. Natanson had married her in April 1893, when she was sixteen years old. She
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In 1921, Vuillard received an important commission for decorative panels for the art patron
Camille Bauer, for his residence in Basel, Switzerland. Vuillard completed a series of four panels, plus two over-the-door paintings, which were finished by 1922. He passed his summers each year from 1917 to
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After the separation of the Nabis in 1900, Vuillard's artistic style and subjects changed. He gradually abandoned the close, crowded and dark interiors he had painted before 1900, and began to paint more outdoors, with natural light. He continued to paint interiors, but the interiors had more light
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Vuillard wrote in his journal in 1890, "In the decoration of an apartment, and overly-precise subject can easily become intolerable. One might less quickly get tired of a textile, or drawings without too much literal precision." He also preferred to populate his interiors with women. As he wrote in
291:, dedicated to transforming art down to its foundations. In 1890, through Denis, Vuillard became a member of the group, which met in Ransom's studio or in the cafes of the Passage Brady. The existence of the organization was in theory secret, and members used coded nicknames; Vuillard became the
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After 1900, Vuillard continued to paint numerous domestic interiors and gardens, but in a more naturalistic, colorful style than he had used as a Nabi. Though the faces of the persons were still often looking away, the interiors had depth, a richness of detail, and warmer colors. He particularly
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Following the outbreak of the First World War in August 1914, Vuillard was briefly mobilized for military duty as a highway guard. He was soon released from this duty, and returned to painting. He visited the armaments factory of his patron, Thadée
Natanson, near Lyon, and later made a series of
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Vuillard began keeping a journal during this time, which records the formation of his artistic philosophy. "We perceive nature through the senses which give us images of forms, sounds, colors, etc." he wrote on 22 November 1888, shortly before he became a Nabi. "A form or a color exists only in
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In 1895, Vuillard received a commission from the cardiologist Henri Vaquez for four panels to decorate the library of his Paris house at 27 rue du Général Foy. The primary subjects were women engaged in playing the piano, sewing, and other solitary occupations in a highly decorated bourgeois
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The theater was an important part of
Vuillard's life. He had started his artistic career making sets and designing programs for an avant-garde theater, and throughout his life, had close contacts with the professional world of the theater. Vuillard painted his friend, the actor and director
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Vuillard, like other members of the Nabis, believed that decorative art was equal to traditional easel painting. Vuillard created theatrical sets and programs, decorative murals and painted screens, prints, designs for stained glass windows, and ceramic plates. In the early 1890s, he worked
689:, reading a book; Madame Vuillard seated in an armchair, Ida Rousseau coming in the door, and her daughter Germaine Rousseau, standing at the left. The unstated subject was the romantic affair between Ker-Xavier Roussel and Germaine Rousseau, his sister-in-law, which shocked the Nabis.
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his journal in 1894, "When my attention is directed toward men, I see only gross caricatures... I never feel so with women, where I always find the means to isolate a few elements which satisfy me as a painter. It's not that men are uglier than women, they're only so in my imagination."
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painted in 1899 became the most valuable
Vuillard sold at auction when it achieved $ 17.75 million at Christie's. The painting had been owned by Nancy Lee and Perry Bass since 1979 when they bought the painting from Wildenstein & Co., the French art dealing family.
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plates, decorated with faces and figures of women in modern dress, immersed in floral designs. The plates, along with his design for the Tiffany window and the decorative panels made for the Natansons, were displayed at the opening of Bing's gallery
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In 1938, Vuillard was elected to the Académie des Beaux Arts in February, and in July, the Musée des Arts Decoratifs presented a major retrospective of his paintings. Later in the year, he traveled to Geneva to oversee the installation of his mural
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Between 1930 and 1935, Vuillard divided his time between Paris and the Château de Clayes, owned by his friend Hessel. Vuillard did not receive official recognition from the French state until July 1936, when he was commissioned to make a mural,
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relation to another. Form does not exist on its own. We can only conceive of the relations." In 1890 he returned to the same idea: "Let's look at a painting as a set of relations that are definitely detached from any idea of naturalism."
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captured the play of the sunlight on the gardens and his subjects. He did not want to return to the past, but wanted to move into the future with a vision that was more decorative, naturalistic and familiar than that of the modernists.
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In 1912, Vuillard, Bonnard and Roussel were nominated for the Légion d'honneur, but all three refused the honor. "I do not seek any other compensation for my efforts than the esteem of people with taste," Vuillard told a journalist.
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and color, more depth, and the faces and features were clearer. The effects of the light became primary components of his paintings, whether they were interior scenes or the parks and streets of Paris. Vuillard gradually returned to
161:), where he spent his youth. Vuillard's father was a retired naval captain who became a tax collector after leaving the military. His father was 27 years older than his mother, Marie Vuillard (née Michaud), who was a seamstress.
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Vuillard first worked on theater decoration. He shared a studio at 28 Rue Pigalle with Bonnard with the theater impresario Lugné-Poe, and the theater critic Georges Rousel. There, Vuillard designed sets for several works by
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835:(1894–1908), which split French society. Dreyfus was a Jewish French army officer accused falsely of treason, and sentenced to a penal colony, before finally being exonerated. Among the Nabis, Vuillard and
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After his father's retirement in 1877, the family settled in Paris at 18 Rue de Chabrol, then moved to a building on Rue Daunou where his mother had a sewing workshop. Vuillard entered a school run by the
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belonged to his family. The NGC maintained that the evidence was incontrovertible and encouraged the Lindon family to make a claim, which it finally did in 2003. The gallery returned the work in 2006.
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in February and July 1886 and again in February 1887. In July 1887, the persistent Vuillard was accepted, and was placed in the course of Robert-Fleury, then in 1888 with the academic history painter
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In November 1885, when Vuillard left the Lycée, he gave up his original idea of following his father in a military career, and set out to become an artist. He joined Roussel at the studio of painter
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The Nabis went their separate ways after their exposition in 1900. They had always had different styles, though they shared common ideas and ideals about art. The separation was made deeper by the
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He made new series of decorative panels, depicting urban scenes and parks in Paris, as well as many interior scenes of Paris shops and homes. He depicted the galleries of the
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From theater decoration, Vuillard soon moved into interior decoration. In the course of his theater work, he met brothers Alexandre and Thadée Natanson, the founders of
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The works of Vuillard and the Nabis were strongly influenced by Japanese woodblock prints, which were shown in Paris at the gallery of art dealer
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in Loire-Atlantique to restore his health. He died there on 21 June 1940, the same month that the French army was defeated by the Germans in the
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After 1920, Vuillard was increasingly occupied painting portraits for wealthy and distinguished Parisians. He preferred to use the technique of
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wrote of "Works still indecisive, where one finds the features in style, literary shadows, sometimes a tender harmony." (September 19, 1891).
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and Lucy, he also had a long relationship with the actress Lucie Belin, for whom he arranged a pension when she fell ill in the 1920s.
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on canvas, 150 × 290 cm, the largest of the three paintings commissioned from Vuillard in 1918 for the Paris café "Le Grand Teddy"
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technique, which allowed him to create more precise details and richer color effects. His subjects ranged from the actor and director
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Vuillard painted a series of paintings of seamstresses in the workshop of a dressmaker, based on the workshop of his mother. In
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in their heyday. In 1937 he and Bonnard combined their impressions of the history of Paris theater world in a large mural,
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on Place Fürstenberg. There, Roussel and Vuillard learned the rudiments of painting. In 1885, Vuillard took courses at the
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and others. In 1892, on a commission for Natanson brothers, Vuillard painted his first decorations ("apartment
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In 1940, Vuillard completed his last two portraits. He suffered from pulmonary difficulties and traveled to
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2849:– Exhibition catalog (2 December 1989 – 4 February 1990), which contains material on Vuillard throughout
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2600:(in French). Montreal: Musée des Beax-Arts, Montreal, and National Gallery of Art, Washington, D.C.
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in Paris, including one of Guitry in his loge at the theater, and another of the comic playwright
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Vuillard used some of the same techniques he had used in the theater for making scenery, such as
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Late in 1889, Vuillard began to frequent meetings of the informal group of artists known as
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The Public Gardens - The Nurses (left), The conversation (center), The Red Umbrella (right)
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1535:(1904, reworked in 1934), which it had purchased in 1956, to the Lindon family in France.
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1733:(1894–95), glue-based distemper on cardboard, mounted on canvas, 110 x 70 cm,
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In 1894, Vuillard and the other Nabis received a commission from art gallery owner
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writers. In 1891, he took part in his first exposition with the Nabis at the
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491:Édouard Vuillard, Ceramic plate depicting a woman in a striped blouse, (1895)
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its name, to design stained glass windows to be made by the American firm of
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2637:. New York, New Haven and London: Jewish Museum and Yale University Press.
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Edouard Vuillard: Painter-decorator : Patrons and Projects, 1892-1912
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Edouard Vuillard: Painter-decorator : Patrons and Projects, 1892-1912
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between 1911 and 1914, and dined with the Russian director of the Ballet,
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Portrait of Toulouse Lautrec, in Villeneuve-sur-Yonne, with the Natansons
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Private Lives: Home and Family in the Art of the Nabis, Paris 1889-1900
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team learned that the committee had unanimously agreed it was genuine.
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The Green Interior or Figure in front of a Window with Drawn Curtains
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Interior: Madame Vuillard and Grand-Mère Roussel at L'Étang-la-Ville
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new Parisian café, "Le Grand Teddy", named after American president
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and classical sculptures. At the Lycée he met several of the future
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In 2006, the National Gallery of Canada restituted Vuillard's
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In 1897, Vuillard interiors showed a noticeable change, with
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Frèches-Thory, Claire; Perucchi-Petri, Ursula, eds. (1993).
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Frèches-Thory, Claire; Perucchi-Petri, Ursula, eds. (1990).
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Chestnut Trees, a Cartoon for a Tiffany Stained-Glass Window
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Les Nabis et le décor – Bonnard, Vuillard, Maurice Denis...
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Under the Influence: Édouard Vuillard and Contemporary Art
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for a mural for a fashionable Paris café, Le Grand Teddy.
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Groom, Gloria Lynn; Vuillard, Edouard (1 January 1993).
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Groom, Gloria Lynn; Vuillard, Edouard (1 January 1993).
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had traveled to Brittany, where, under the direction of
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as a binder mixed with chalk and white pigment to make
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Vuillard: Critical Catalogues of Paintings and Pastels
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Jean-Édouard Vuillard was born on 11 November 1868 in
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Artist biography from Jill Newhouse Gallery, New York
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Indoor/Outdoor: Vuillard's "Landscapes and Interiors"
2635:Édouard Vuillard: A Painter and His Muses, 1890–1940
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Edouard Vuillard: A Painter and His Muses, 1890–1940
1797:(1908–10, reworked in 1912), Cleveland Museum of Art
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Edouard Vuillard: A Painter and His Muses, 1890–1940
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and Sérusier supported the side of the French army.
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For this series Vuillard did not use oil paint, but
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366:, National Gallery of Art, Washington DC (1894–95)
2506:"At the Revue Blanche (Portrait of Félix Fénéon)"
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2836:Sitting for Vuillard – The Bloch Family Portrait
2404:"BBC One – Fake or Fortune?, Series 3, Vuillard"
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1766:(1900–01), oil on cardboard, 53 x 70 cm,
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2748:Vuillard: Master of the Intimate Interior
2242:. Jewish Women's Archive, Michele Siegel.
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1632:Edouard Vuillard: Portraits Reconsidered
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2769:Cogeval, Guy; Salomon, Antoine (2003).
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1538:
1236:Actress Yvonne Printemps in an armchair
3621:Members of the Académie des beaux-arts
3563:
3090:
2792:. San Francisco: Alan Wofsy Fine Arts.
2553:
1992:
1990:
1988:
1883:"The life and art of Édouard Vuillard"
1811:(1920, reworked in 1926, 1935, 1936),
1742:(c.1897–1899), Cleveland Museum of Art
1317:The Comtesse Marie-Blanche de Polignac
1119:. He attended the performances of the
3064:
2867:
2457:from the original on 24 November 2015
2324:
2285:
2203:
2126:
2033:Paroles d'Artiste – Édouard Vuillard.
2021:Paroles d'Artiste – Édouard Vuillard.
1893:from the original on 25 October 2017.
1861:. Yale University Press. p. 77.
1458:"Le Grand Teddy" painting rediscovery
877:New interiors, cityscapes and gardens
582:Royal Museums of Fine Arts of Belgium
515:
311:. He showed two paintings, including
117:
2790:The Graphic Work of Édouard Vuillard
1912:
1897:
1756:(Misia Natanson with Mimi Godebska,
1724:(from "The Public Gardens") (1894),
1420:Misia Natanson seated in an armchair
821:(1898), The Thiel Gallery, Stockholm
658:but later critics added subtitles:
185:(Vuillard's future brother in law),
2617:Édouard Vuillard- Paroles d'Artiste
2532:"Collection | Garden at Vaucresson"
2162:Paroles d'Artiste- Édouard Vuillard
2149:Paroles d'Artiste- Édouard Vuillard
1985:
1651:25 September 2003 – 4 January 2004
1635:, Jill Newhouse Gallery in New York
1596:16 October 2015 – 15 February 2016
1544:1 July 2021 to 19 September 2021 –
1464:The Grand Teddy tea-rooms paintings
1379:at the League of Nations Building.
1361:1937 Paris International Exposition
1149:1937 Paris International Exposition
1094:Morning concert at Place Vintimille
1079:At Clayes, Geranium on a blue table
1049:Morning in the garden, Clos Cezanne
578:Public Gardens - The two schoolboys
295:, because of his military service.
13:
3611:French Post-impressionist painters
2821:Le Déjeuner à Villeneuve-sur-Yonne
2649:
2023:Éditions Fage, Paris (2019), p. 10
1773:At the Revue Blanche (Portrait of
1570:Maman Vuillard and Madame Vuillard
1567:19 October 2018 – 20 January 2019
1526:
674:They are now in the Museum of the
618:
14:
3662:
2814:
2035:Éditions Fage, Paris (2019), p. 8
1665:
945:decorative panels. First series,
786:Persons in an Interior - Intimacy
3651:19th-century French male artists
3601:20th-century French male artists
2727:Die Nabis: Propheten der Moderne
2710:(in French). Paris: Flammarion.
2683:Correspondence: Bonnard-Vuillard
1638:19 January 2003 – 20 April 2003
1557:13 March 2019 to 30 June 2019 –
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865:Vuillard served as a juror with
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356:
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309:Chateau of Saint-Germain-en-Laye
3641:20th-century French printmakers
3636:Burials at Batignolles Cemetery
2842:Pierre Bonnard: The Graphic Art
2524:
2498:
2473:
2439:
2424:Misia et Vallotton à Villeneuve
2422:"Edouard Vuillard (1868–1940),
2414:
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2080:
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2014:
2002:
1969:(in French). 1934. p. 158.
1820:(1936), Cleveland Museum of Art
1693:Mother and Sister of the Artist
1609:4 May 2012 – 23 September 2012
1520:Misia et Vallotton à Villeneuve
1127:, and with the American dancer
1066:(c. 1928), pastel and charcoal
1064:Morning Light, Place Vintimille
801:Large Interior with Six Persons
683:Large Interior with Six Persons
2826:Vuillard's Biography and works
2729:(in German). Munich: Prestel.
1973:
1955:
1943:
1931:
1875:
1848:
771:Persons in an interior - Music
596:Public Gardens - Girls playing
1:
2853:Vuillard at The Jewish Museum
2662:Vuillard: His Life & Work
2481:"Collection | Green Interior"
1590:in New York at The Art Show,
1575:Barber Institute of Fine Arts
1284:Portrait of David David-Weill
1184:peinture à la colle sur toile
598:(1894), Paris, Musée d'Orsay
565:, Paris, Musée d'Orsay (1894)
383:
148:
3596:20th-century French painters
3586:19th-century French painters
2773:. Paris & Milan: Skila.
2619:(in French). Èditions Fage.
2147:Journal, 6 September 1890,
1654:Edouard Vuillard (1868–1940)
1377:Peace, Protector of the Arts
1357:Théâtre national de Chaillot
1299:Portrait of Princess Bibesco
1175:
1145:Théâtre national de Chaillot
720:The Seamstress with Chiffons
704:(The flowered dress), 1891,
613:(1894), Paris, Musée d'Orsay
475:Theater program for Ibsen's
313:The Woman in a Striped Dress
231:
7:
2788:Roger-Marx, Claude (1990).
2240:"Florence Meyer Blumenthal"
2111:, pp. 164–165, 192–193
1824:
1143:, for the foyer of the new
860:Théodore Duret in his Study
827:After the Nabis (1900–1914)
738:Three women in conversation
141:Vuillard was influenced by
10:
3667:
3581:People from Saône-et-Loire
2847:Metropolitan Museum of Art
2797:Vuillard, Édouard (1985).
2615:Vuillard, Édouard (2019).
2577:Thompson, Belinda (1988).
1813:Metropolitan Museum of Art
1705:Indianapolis Museum of Art
1676:Metropolitan Museum of Art
1461:
1217:Portrait of Theodore Duret
1113:Théâtre des Champs-Élysées
1101:
1015:Metropolitan Museum of Art
858:In 1912, Vuillard painted
724:Indianapolis Museum of Art
611:Public Gardens - Questions
214:William-Adolphe Bouguereau
204:, in the former studio of
16:French painter (1868–1940)
3527:
3506:
3445:
3339:
3301:
3258:Henri de Toulouse-Lautrec
3155:
3100:
3025:
2982:
2901:
2893:
2831:Vuillard at Musée d'Orsay
2581:. Oxford: Phaidon Press.
2271:. Yale University Press.
2071:Le Beau dans le quotidien
1513:
891:Museum of Decorative Arts
867:Florence Meyer Blumenthal
839:supported Dreyfus, while
788:(1896), decorative panel
773:(1896), decorative panel
532:Figures dans un Interieur
406:Henri de Toulouse-Lautrec
94:
71:
45:
30:
23:
3646:French portrait painters
3007:Toulouse-Lautrec Cooking
2702:, in French and German:
2681:Bonnard, Pierre (2001).
2560:Preston, Stuart (1972).
1841:
1754:Woman in Blue With Child
1629:11 April - 21 May 2012,
1533:The Salon of Madame Aron
1196:to the fashion designer
1011:The Garden of Vaucresson
364:Child in an orange shawl
283:, were among the first
119:[ʒɑ̃edwaʁvɥijaʁ]
2633:Brown, Stephen (2012).
2160:Journal, 27 July 1894,
2092:1 February 2014 at the
1831:Intimism (art movement)
1726:Cleveland Museum of Art
1646:National Gallery of Art
1617:1 February 2014 at the
1552:Cleveland Museum of Art
1506:in Paris, Tutt and the
1303:São Paulo Museum of Art
1251:Portrait of Lucy Hessel
1221:National Gallery of Art
1155:Final years (1914–1940)
981:National Gallery of Art
928:Arthur Fontaine reading
706:São Paulo Museum of Art
461:Maison de l'Art Nouveau
3631:Académie Julian alumni
3626:Lycée Condorcet alumni
3488:Salon des Indépendants
3468:Le Barc de Boutteville
3422:Robert Antoine Pinchon
2077:March 2019, pp. 21–27.
1963:"L'Amateur d'estampes"
1480:
1183:
544:
477:An Enemy of the People
422:
372:The Japanese influence
252:
3453:Artistes Indépendants
3382:Karl Schmidt-Rottluff
3377:Ernst Ludwig Kirchner
3283:Théo van Rysselberghe
2746:Cogeval, Guy (2002).
2700:The Time of the Nabis
2596:Cogeval, Guy (2003).
2067:Les Nabis et le Japon
2056:March 2019, pp. 21–27
2050:Les Nabis et Le Decor
2046:Les Nabis et le Japon
1588:Jill Newhouse Gallery
1518:On 13 November 2017,
1504:Wildenstein Institute
1471:
1435:Lucy Hessel on a sofa
1346:Recognition and death
1340:(1933), Musée d'Orsay
1131:, and frequented the
524:Les Jardins Publiques
239:
111:Jean-Édouard Vuillard
40:, 1889, oil on canvas
3591:French male painters
2564:. New York: Abrams.
1809:Garden at Vaucresson
1788:Villeneuve-sur-Yonne
1768:Dallas Museum of Art
1735:Dallas Museum of Art
1539:Selected exhibitions
895:Palace of Versailles
893:, the chapel of the
279:, Maurice Denis and
243:, Édouard Vuillard,
222:École des Beaux-Arts
3498:Salon des Tuileries
3473:La Libre Esthétique
3238:René Schützenberger
3218:Hippolyte Petitjean
3034:L'Estampe originale
2934:Henri-Gabriel Ibels
2656:Vuillard, Édouard;
2554:Books cited in text
1758:rue Saint-Florentin
1604:Norton Simon Museum
1562:Musée du Luxembourg
1487:television program
819:In the Waiting Room
668:The Choice of Books
656:People in Interiors
561:Decorative screen,
545:peinture à la colle
423:peinture à la colle
389:especially for the
3463:Volpini Exhibition
3198:Henri-Edmond Cross
3093:Post-Impressionism
3050:Post-Impressionism
2954:Ker-Xavier Roussel
2658:Roger-Marx, Claude
2309:, pp. 480–481
2255:, pp. 323–325
2200:, pp. 208–209
2188:, pp. 195–199
2123:, pp. 164–165
1836:Post-Impressionism
1710:The Yellow Curtain
1592:Park Avenue Armory
1481:
964:panels (1908–1910)
639:The Flowered Dress
538:The Public Gardens
528:The Public Gardens
517:The Public Gardens
463:in December 1895.
391:Théâtre de l'Œuvre
335:Édouard Vuillard,
253:
241:Ker-Xavier Roussel
195:Aurélien Lugné-Poe
183:Ker-Xavier Roussel
3558:
3557:
3387:Wassily Kandinsky
3110:Neo-Impressionism
3058:
3057:
3015:Homage to Cézanne
2801:. JPL Fine Arts.
2692:978-2-07-076076-3
2626:978-2-84975-560-0
2588:978-0-7148-2955-5
2536:www.metmuseum.org
2451:www.lootedart.com
2369:Brown 2012, p. 21
2297:, pp. 465–68
2278:978-0-300-05555-9
2098:The Jewish Museum
1868:978-0-300-05555-9
1781:Guggenheim Museum
1648:in Washington, DC
1624:The Jewish Museum
1554:, Cleveland, Ohio
1369:League of Nations
702:La Robe À Ramages
635:La Robe à Ramages
108:
107:
3658:
3478:Ambroise Vollard
3427:Henriette Tirman
3321:Der Blaue Reiter
3293:Édouard Vuillard
3278:Vincent van Gogh
3208:Georges Dufrénoy
3094:
3085:
3078:
3071:
3062:
3061:
2974:Édouard Vuillard
2944:Aristide Maillol
2888:
2881:
2874:
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2864:
2858:Édouard Vuillard
2810:
2799:Édouard Vuillard
2793:
2784:
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2592:
2573:
2562:Édouard Vuillard
2547:
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2517:
2512:. 1 January 1901
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2381:, pp. 24–31
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1641:Édouard Vuillard
1580:1-5 March 2017,
1508:Fake or Fortune?
1490:Fake or Fortune?
1446:
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1416:
1388:Battle of France
1359:, built for the
1332:
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1162:Francis Jourdain
1147:, built for the
1125:Sergei Diaghilev
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1030:The Salle Clarac
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977:Place Vintimille
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433:rabbit-skin glue
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398:La Revue Blanche
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337:The Seamstresses
332:
226:Jean-Léon Gérôme
206:Eugène Delacroix
202:Diogène Maillart
121:
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87:Loire-Inférieure
78:
56:11 November 1868
55:
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25:Édouard Vuillard
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3412:Francis Picabia
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3188:Marius Borgeaud
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2919:Maxime Dethomas
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2140:
2125:
2113:
2101:
2079:
2058:
2037:
2025:
2013:
2001:
1984:
1972:
1954:
1942:
1930:
1911:
1896:
1874:
1867:
1846:
1845:
1843:
1840:
1839:
1838:
1833:
1826:
1823:
1822:
1821:
1815:
1806:
1802:Le Grand Teddy
1798:
1792:
1786:Le Déjeuner à
1783:
1770:
1761:
1751:
1743:
1737:
1728:
1719:
1713:
1707:
1700:The Seamstress
1696:
1690:
1687:Woman Sweeping
1684:
1678:
1667:
1666:Selected works
1664:
1663:
1662:
1649:
1636:
1627:
1607:
1594:
1578:
1565:
1555:
1540:
1537:
1528:
1525:
1515:
1512:
1477:glue distemper
1473:Le Grand Teddy
1462:Main article:
1459:
1456:
1455:
1454:
1448:
1441:
1439:
1433:
1426:
1424:
1418:
1411:
1401:Public Gardens
1395:
1392:
1347:
1344:
1343:
1342:
1334:
1327:
1325:
1315:
1308:
1306:
1297:
1290:
1288:
1282:
1275:
1273:
1264:
1257:
1255:
1249:
1242:
1240:
1234:
1227:
1225:
1215:
1208:
1202:Jane Renouardt
1177:
1174:
1156:
1153:
1133:Folies Bergère
1129:Isadora Duncan
1121:Ballets Russes
1103:
1100:
1099:
1098:
1092:
1085:
1083:
1077:
1070:
1068:
1062:
1055:
1053:
1047:
1040:
1038:
1028:
1021:
1019:
1009:
1002:
1000:
994:
987:
985:
979:panel (1915),
975:
968:
966:
960:
953:
951:
941:
934:
932:
926:
919:
917:
914:Pushkin Museum
908:
901:
878:
875:
837:Pierre Bonnard
833:Dreyfus Affair
828:
825:
824:
823:
817:
810:
808:
799:
792:
790:
784:
777:
775:
769:
762:
760:
751:
744:
742:
736:
729:
727:
718:
711:
709:
700:
693:
622:
617:
616:
615:
609:
602:
600:
594:
587:
585:
576:
569:
567:
560:
553:
519:
514:
513:
512:
502:
495:
493:
490:
483:
481:
474:
467:
444:Siegfried Bing
402:Pierre Bonnard
385:
382:
378:Siegfried Bing
373:
370:
369:
368:
362:
355:
353:
350:
343:
341:
334:
327:
277:Pierre Bonnard
233:
230:
159:Saône-et-Loire
150:
147:
106:
105:
96:
95:Known for
92:
91:
81:
79:(aged 71)
73:
69:
68:
64:Saône-et-Loire
58:
47:
43:
42:
36:
28:
27:
24:
15:
9:
6:
4:
3:
2:
3663:
3652:
3649:
3647:
3644:
3642:
3639:
3637:
3634:
3632:
3629:
3627:
3624:
3622:
3619:
3617:
3614:
3612:
3609:
3607:
3604:
3602:
3599:
3597:
3594:
3592:
3589:
3587:
3584:
3582:
3579:
3577:
3574:
3572:
3569:
3568:
3566:
3551:
3548:
3546:
3543:
3541:
3538:
3536:
3535:Impressionism
3533:
3532:
3530:
3526:
3520:
3519:Albert Aurier
3517:
3515:
3512:
3511:
3509:
3505:
3499:
3496:
3494:
3491:
3489:
3486:
3484:
3481:
3479:
3476:
3474:
3471:
3469:
3466:
3464:
3461:
3459:
3456:
3454:
3451:
3450:
3448:
3444:
3438:
3435:
3433:
3432:Jean Marchand
3430:
3428:
3425:
3423:
3420:
3418:
3417:Pablo Picasso
3415:
3413:
3410:
3408:
3407:Henry Ottmann
3405:
3403:
3400:
3398:
3395:
3393:
3390:
3388:
3385:
3383:
3380:
3378:
3375:
3373:
3370:
3368:
3367:Henri Matisse
3365:
3363:
3360:
3358:
3355:
3353:
3350:
3348:
3345:
3344:
3342:
3338:
3332:
3329:
3327:
3326:Expressionism
3324:
3322:
3319:
3317:
3314:
3312:
3309:
3308:
3306:
3302:20th-century
3300:
3294:
3291:
3289:
3286:
3284:
3281:
3279:
3276:
3274:
3271:
3269:
3266:
3264:
3263:Charles Laval
3261:
3259:
3256:
3254:
3251:
3249:
3246:
3244:
3243:Paul Sérusier
3241:
3239:
3236:
3234:
3231:
3229:
3226:
3224:
3221:
3219:
3216:
3214:
3211:
3209:
3206:
3204:
3203:Maurice Denis
3201:
3199:
3196:
3194:
3191:
3189:
3186:
3184:
3181:
3179:
3176:
3174:
3173:Émile Bernard
3171:
3169:
3166:
3164:
3161:
3160:
3158:
3154:
3148:
3145:
3143:
3140:
3138:
3135:
3133:
3132:
3128:
3126:
3123:
3121:
3118:
3116:
3113:
3111:
3108:
3107:
3105:
3101:19th-century
3099:
3095:
3086:
3081:
3079:
3074:
3072:
3067:
3066:
3063:
3051:
3048:
3046:
3043:
3041:
3038:
3036:
3035:
3031:
3030:
3028:
3024:
3017:
3016:
3012:
3009:
3008:
3004:
3001:
3000:
2996:
2993:
2992:
2988:
2987:
2985:
2981:
2975:
2972:
2970:
2967:
2965:
2962:
2960:
2959:Paul Sérusier
2957:
2955:
2952:
2950:
2947:
2945:
2942:
2940:
2937:
2935:
2932:
2930:
2927:
2925:
2922:
2920:
2917:
2915:
2914:Maurice Denis
2912:
2910:
2907:
2906:
2904:
2900:
2896:
2889:
2884:
2882:
2877:
2875:
2870:
2869:
2866:
2859:
2856:
2854:
2851:
2848:
2844:
2843:
2839:
2837:
2834:
2832:
2829:
2827:
2824:
2822:
2819:
2818:
2808:
2804:
2800:
2795:
2791:
2786:
2782:
2776:
2772:
2767:
2763:
2761:0-500-30109-3
2757:
2753:
2749:
2744:
2738:
2736:3-7913-1969-8
2732:
2728:
2723:
2719:
2713:
2709:
2704:
2703:
2701:
2698:
2694:
2688:
2685:. Gallimard.
2684:
2679:
2675:
2671:
2667:
2663:
2659:
2654:
2653:
2644:
2643:9780300176759
2640:
2636:
2632:
2628:
2622:
2618:
2613:
2609:
2607:2-7118-4640-7
2603:
2599:
2594:
2590:
2584:
2580:
2575:
2571:
2567:
2563:
2558:
2557:
2537:
2533:
2527:
2511:
2507:
2501:
2486:
2482:
2476:
2469:
2456:
2452:
2448:
2442:
2427:
2425:
2417:
2409:
2405:
2399:
2392:
2387:
2380:
2375:
2366:
2359:
2354:
2348:, p. 389
2347:
2342:
2336:, p. 482
2335:
2330:
2328:
2321:, p. 481
2320:
2315:
2308:
2303:
2296:
2291:
2289:
2280:
2274:
2270:
2269:
2261:
2254:
2249:
2241:
2235:
2229:, p. 126
2228:
2227:Thompson 1988
2223:
2216:
2211:
2209:
2207:
2199:
2194:
2187:
2182:
2176:, p. 138
2175:
2170:
2163:
2157:
2150:
2144:
2138:, p. 135
2137:
2132:
2130:
2122:
2117:
2110:
2105:
2099:
2095:
2091:
2088:
2083:
2076:
2075:L'Objet d'Art
2072:
2068:
2062:
2055:
2054:L'Objet d'Art
2051:
2047:
2041:
2034:
2029:
2022:
2017:
2010:
2009:Thompson 1988
2005:
1999:, p. 475
1998:
1993:
1991:
1989:
1981:
1980:Thompson 1988
1976:
1968:
1964:
1958:
1952:, p. 474
1951:
1946:
1940:, p. 474
1939:
1934:
1928:, p. 474
1927:
1922:
1920:
1918:
1916:
1908:
1903:
1901:
1892:
1888:
1884:
1878:
1870:
1864:
1860:
1859:
1851:
1847:
1837:
1834:
1832:
1829:
1828:
1819:
1816:
1814:
1810:
1807:
1804:
1803:
1799:
1796:
1793:
1790:
1789:
1784:
1782:
1778:
1776:
1771:
1769:
1765:
1762:
1759:
1755:
1752:
1749:
1748:
1744:
1741:
1738:
1736:
1732:
1729:
1727:
1723:
1720:
1717:
1714:
1711:
1708:
1706:
1702:
1701:
1697:
1694:
1691:
1688:
1685:
1682:
1681:Self Portrait
1679:
1677:
1673:
1670:
1669:
1660:
1659:Musée d'Orsay
1656:
1655:
1650:
1647:
1643:
1642:
1637:
1634:
1633:
1628:
1625:
1621:
1620:
1616:
1613:
1608:
1605:
1601:
1600:
1595:
1593:
1589:
1585:
1584:
1579:
1577:in Birmingham
1576:
1572:
1571:
1566:
1563:
1560:
1556:
1553:
1549:
1548:
1543:
1542:
1536:
1534:
1524:
1521:
1511:
1509:
1505:
1501:
1497:
1492:
1491:
1486:
1483:In 2014, the
1478:
1474:
1470:
1465:
1451:
1445:
1440:
1436:
1430:
1425:
1421:
1415:
1410:
1409:
1408:
1404:
1402:
1394:Personal life
1391:
1389:
1385:
1380:
1378:
1372:
1370:
1366:
1362:
1358:
1354:
1339:
1338:
1337:Jeanne Lanvin
1331:
1326:
1322:
1321:Musée d'Orsay
1319:(1928–1932),
1318:
1312:
1307:
1304:
1300:
1294:
1289:
1285:
1279:
1274:
1270:
1269:
1261:
1256:
1252:
1246:
1241:
1237:
1231:
1226:
1222:
1218:
1212:
1207:
1206:
1205:
1203:
1199:
1198:Jeanne Lanvin
1195:
1191:
1187:
1185:
1173:
1171:
1165:
1163:
1152:
1150:
1146:
1142:
1138:
1134:
1130:
1126:
1122:
1118:
1114:
1110:
1095:
1089:
1084:
1080:
1074:
1069:
1065:
1059:
1054:
1050:
1044:
1039:
1035:
1031:
1025:
1020:
1016:
1012:
1006:
1001:
997:
996:Venus de Milo
991:
986:
982:
978:
972:
967:
963:
957:
952:
948:
944:
938:
933:
929:
923:
918:
915:
911:
905:
900:
899:
898:
896:
892:
888:
887:Louvre Museum
883:
874:
872:
868:
863:
861:
856:
852:
850:
844:
842:
841:Maurice Denis
838:
834:
820:
814:
809:
806:
802:
796:
791:
787:
781:
776:
772:
766:
761:
758:
754:
748:
743:
739:
733:
728:
725:
721:
715:
710:
707:
703:
697:
692:
691:
690:
688:
684:
679:
677:
673:
669:
665:
661:
657:
651:
649:
648:with Chiffons
646:
642:
640:
636:
631:
627:
621:
612:
606:
601:
597:
591:
586:
583:
579:
573:
568:
564:
557:
552:
551:
550:
548:
546:
539:
535:
533:
529:
525:
518:
509:
508:Louis Tiffany
505:
504:The Chestnuts
499:
494:
487:
482:
478:
471:
466:
465:
464:
462:
457:
453:
452:Louis Tiffany
449:
445:
440:
438:
434:
430:
426:
424:
417:
415:
411:
407:
403:
399:
394:
392:
381:
379:
365:
359:
354:
347:
342:
338:
331:
326:
325:
324:
320:
318:
314:
310:
306:
302:
296:
294:
290:
286:
282:
278:
274:
270:
266:
265:Paul Sérusier
262:
258:
250:
246:
245:Romain Coolus
242:
238:
229:
227:
223:
219:
218:Robert-Fleury
215:
211:
207:
203:
198:
196:
192:
188:
187:Maurice Denis
184:
180:
176:
172:
168:
162:
160:
156:
146:
144:
139:
137:
133:
129:
125:
120:
112:
104:
100:
97:
93:
88:
84:
74:
70:
65:
61:
48:
44:
39:
38:Self-portrait
34:
29:
22:
19:
3550:Secessionism
3514:Félix Fénéon
3437:Othon Friesz
3357:André Derain
3292:
3228:Odilon Redon
3213:Paul Gauguin
3193:Paul Cézanne
3178:Edvard Munch
3129:
3032:
3013:
3005:
2997:
2991:The Talisman
2989:
2973:
2929:Hermann-Paul
2840:
2798:
2789:
2770:
2752:New Horizons
2747:
2726:
2707:
2699:
2682:
2661:
2634:
2616:
2597:
2578:
2561:
2539:. Retrieved
2535:
2526:
2514:. Retrieved
2509:
2500:
2488:. Retrieved
2484:
2475:
2466:
2459:. Retrieved
2450:
2441:
2429:. Retrieved
2423:
2416:
2407:
2398:
2391:Cogeval 2003
2386:
2379:Cogeval 2003
2374:
2365:
2360:, p. 49
2358:Preston 1972
2353:
2346:Cogeval 2003
2341:
2334:Cogeval 2003
2319:Cogeval 2003
2314:
2307:Cogeval 2003
2302:
2295:Cogeval 2003
2267:
2260:
2253:Cogeval 2003
2248:
2234:
2222:
2215:Cogeval 2003
2198:Cogeval 2003
2193:
2186:Cogeval 2003
2181:
2174:Cogeval 2003
2169:
2161:
2156:
2148:
2143:
2136:Cogeval 2003
2121:Cogeval 2003
2116:
2109:Cogeval 2003
2104:
2082:
2074:
2070:
2066:
2061:
2053:
2049:
2045:
2040:
2032:
2028:
2020:
2016:
2011:, p. 18
2004:
1997:Cogeval 2003
1982:, p. 10
1975:
1966:
1957:
1950:Cogeval 2003
1945:
1938:Cogeval 2003
1933:
1926:Cogeval 2003
1909:, p. 14
1907:Preston 1972
1886:
1877:
1857:
1850:
1817:
1808:
1801:
1794:
1785:
1775:Félix Fénéon
1772:
1763:
1753:
1745:
1739:
1730:
1721:
1716:Married Life
1715:
1709:
1698:
1692:
1686:
1680:
1671:
1652:
1639:
1631:
1610:
1597:
1582:
1568:
1558:
1545:
1532:
1530:
1519:
1517:
1507:
1488:
1482:
1472:
1449:
1434:
1419:
1405:
1400:
1397:
1381:
1376:
1373:
1365:Anabaptistes
1364:
1352:
1349:
1335:
1316:
1298:
1283:
1268:Sacha Guitry
1266:Portrait of
1265:
1250:
1235:
1216:
1194:Sacha Guitry
1181:
1179:
1166:
1158:
1140:
1137:Moulin Rouge
1109:Sacha Guitry
1105:
1093:
1078:
1063:
1048:
1029:
1010:
995:
983:, Washington
976:
961:
946:
942:
927:
909:
884:
880:
864:
859:
857:
853:
845:
830:
818:
800:
785:
770:
752:
737:
719:
701:
682:
680:
676:Petit Palais
671:
667:
663:
659:
655:
652:
647:
644:
643:
638:
634:
632:
628:
624:
619:
610:
595:
577:
562:
542:
537:
536:
531:
527:
523:
521:
516:
503:
476:
460:
447:
441:
420:
418:
397:
395:
387:
375:
363:
336:
321:
317:Le Chat Noir
316:
312:
297:
292:
288:
284:
273:The Talisman
272:
269:Paul Gauguin
261:The prophets
260:
254:
199:
191:Pierre Véber
181:, including
175:Michelangelo
163:
152:
143:Paul Gauguin
140:
110:
109:
77:(1940-06-21)
75:21 June 1940
18:
3606:Nabis (art)
3576:1940 deaths
3571:1868 births
3446:Exhibitions
3253:Paul Signac
3223:Paul Ranson
3147:Art Nouveau
3125:Cloisonnism
3120:Pointillism
3115:Divisionism
2969:Jan Verkade
2949:Paul Ranson
2431:14 November
1967:Gallica.Bnf
1818:André Bénac
1795:Café Wepler
1740:At the Café
1626:in New York
1606:in Pasadena
1450:Lucie Belin
1371:in Geneva.
687:Paul Ranson
448:Art Nouveau
301:Maeterlinck
293:Nabi Zouave
281:Paul Ranson
128:avant garde
103:printmaking
3565:Categories
3545:Modern art
3397:Franz Marc
3362:Raoul Dufy
3316:Die Brücke
3163:Cuno Amiet
3137:Synthetism
2807:B00100R0HC
2780:8884911192
2717:2080109413
2541:4 February
2516:4 February
2510:Guggenheim
2490:4 February
1887:Christie's
1353:La Comédie
1170:Vaucresson
1141:La Comédie
1017:, New York
849:naturalism
678:in Paris.
645:Seamstress
384:Decoration
303:and other
149:Early life
124:printmaker
52:1868-11-11
3540:Modernism
3304:movements
3142:Symbolism
3131:Les Nabis
3103:movements
3045:Lugné-Poe
2983:Paintings
2708:Les Nabis
2666:Paul Elek
2570:871630733
1238:(1920–21)
1190:distemper
1176:Portraits
1096:(1937–38)
672:Intimacy.
510:(1894–95)
456:porcelain
429:distemper
305:symbolist
257:Les Nabis
232:Les Nabis
189:, writer
132:Les Nabis
3040:Intimism
2902:Painters
2660:(1946).
2598:Vuillard
2579:Vuillard
2461:25 April
2455:Archived
2090:Archived
1891:Archived
1825:See also
1779:, 1901,
1760:) (1899)
1703:(1893),
1674:(1891),
1661:in Paris
1615:Archived
1475:, 1918,
1384:La Baule
1301:(1925),
1219:(1912),
1168:1924 at
1135:and the
1013:(1920),
912:(1904),
910:Interior
889:and the
803:(1897),
755:(1895),
722:(1893),
580:(1894),
414:frescoes
155:Cuiseaux
99:Painting
89:, France
83:La Baule
66:, France
60:Cuiseaux
3528:Related
3507:Critics
3340:Artists
3311:Fauvism
3156:Artists
3026:Related
2845:at the
2674:1237747
2485:The Met
2164:, p. 30
2151:, p. 30
1564:, Paris
1323:, Paris
1102:Theater
1032:at the
115:French:
3458:Les XX
3331:Cubism
3018:(1900)
3010:(1898)
3002:(1893)
2994:(1888)
2805:
2777:
2758:
2733:
2714:
2689:
2672:
2641:
2623:
2604:
2585:
2568:
2275:
1865:
1805:(1918)
1791:(1902)
1750:(1898)
1718:(1894)
1712:(1893)
1695:(1893)
1689:(1892)
1683:(1892)
1514:Market
1500:Geneva
1452:(1915)
1437:(1900)
1422:(1901)
1286:(1925)
1271:(1925)
1253:(1924)
1081:(1932)
1051:(1924)
1036:(1922)
1034:Louvre
998:(1920)
949:(1908)
930:(1904)
740:(1893)
670:, and
530:) and
339:(1890)
289:nabiim
251:, 1899
2895:Nabis
2069:, in
2048:, in
1842:Notes
1188:, or
947:Passy
660:Music
437:gesso
427:, or
285:Nabis
259:, or
179:Nabis
2803:ASIN
2775:ISBN
2756:ISBN
2731:ISBN
2712:ISBN
2687:ISBN
2670:OCLC
2639:ISBN
2621:ISBN
2602:ISBN
2583:ISBN
2566:OCLC
2543:2019
2518:2019
2492:2019
2463:2021
2433:2017
2273:ISBN
1863:ISBN
664:Work
216:and
72:Died
46:Born
2750:. '
2408:BBC
2096:at
1485:BBC
287:of
3567::
2668:.
2664:.
2534:.
2508:.
2483:.
2465:.
2453:.
2449:.
2406:.
2326:^
2287:^
2205:^
2128:^
2073:,
2052:,
1987:^
1965:.
1914:^
1899:^
1889:.
1885:.
1657:,
1644:,
1622:,
1602:,
1586:,
1573:,
1550:,
1390:.
1151:.
897:.
666:,
662:,
408:,
404:,
247:,
197:.
101:,
85:,
62:,
3084:e
3077:t
3070:v
2887:e
2880:t
2873:v
2809:.
2783:.
2764:.
2739:.
2720:.
2695:.
2676:.
2645:.
2629:.
2610:.
2591:.
2572:.
2545:.
2520:.
2494:.
2435:.
2426:"
2410:.
2281:.
1871:.
1777:)
637:(
526:(
157:(
113:(
54:)
50:(
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