Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 217 værker af Paul Sérusier i vores katalog
In short
Fisherman on the Laita (1890) is the Paul Sérusier painting that draws the most eyes. After it, the eye goes to Solitude (1891) and Plate of Apples (1891). Among the 217 works of Paul Sérusier in our catalog, these 100 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
A man sits on the edge of a shoreline, positioned in the foreground of the composition. He is oriented toward a body of water, appearing to engage in fishing or quiet observation. The landscape extends toward a background of mountains that provide a sense of scale and depth. Near the center of the water, a single boat floats, while a second, smaller boat is situated further to the right. Above…
In 1891, Paul Sérusier composed Solitude, a work that invites a quiet contemplation of a single moment in the natural world. The painting presents a portrait of a woman seated upon the grass, her figure anchored in a tranquil outdoor setting. She wears a dress and a scarf around her neck, her gaze directed toward something in the distance. Above her, an open umbrella provides a sense of shelter, shielding…
In this 1891 composition, we find ourselves in the presence of a simple, intimate still life. The subject is a modest arrangement: a plate holding three apples, with one positioned centrally and two flanking it, accompanied by an empty bowl resting nearby. There is a certain stillness here, a moment captured in a warm and inviting atmosphere. The scene does not seek to overwhelm; instead, it invites a closer look…
We are looking at Breton woman going to the washing place, a significant work from 1890. This piece was executed by the French artist Paul Sérusier. It represents a moment in his development when he was moving away from traditional academicism toward a more structured, personal way of seeing the world.
In the gentle strokes of Paul Sérusier’s 1891 masterpiece, "Woman in a Street," we are invited to step into a world where the mundane becomes monumental. This evocative piece captures a fleeting moment of daily life, transporting the viewer to a serene village setting where time seems to slow its frantic pace. A solitary woman wanders through the street, her presence anchored by the weight of a handbag and the…
In this 1889 oil on canvas, we find ourselves in a moment of rural stillness. A Breton woman is captured in the midst of a simple, repetitive task, tending to two large pigs that dominate the foreground. There is a profound sense of weight here, anchored by the presence of the livestock and the woman’s steady posture. The scene does not seek to dramatize the labor, but rather to observe…
The work titled Naik-the bride (detail). is a significant creation by the artist Paul Sérusier. Painted in 1895, this piece captures a quiet moment of domesticity through a highly structured lens. It is also recognized by the title Naik – fiancée (Naik-la fiancée), a name that speaks to the intimate, personal nature of the subject matter.
The painting is a still life featuring apples and a jug. The apples are arranged in various positions throughout the scene, with some placed closer to the viewer and others further away. There are at least 13 apples visible in the image, each varying in size and shape. A bowl can also be seen on the right side of the painting, containing more apples. The jug is located towards the…
Tityrus Meliboea and the departure of Gauguin1892
12
A Breton Sunday1890
13
The Princess's Bath1898 · Chrysler Museum of Art
14
Bretonne au Champ de Blé (Breton Woman in Meadow)1890 · Ashmolean Museum
15
Pilgrimage1894
16
Young Breton (also known as The Little Knitter)1896
17
Morning Mists1907 · Petit Palais
18
Seaside1914 · La Boverie
19
The Daughters of Pelichtim1908 · Musée d'Orsay
20
Evening1884
21
Les Bretonnes1891
22
Laundresses at the River1892 · Musée d'Orsay
23
Susanna and the Elders
24
Yellow Farm at Pouldu1890
25
Paysage au vallon
26
Vision near the Torrent or Rendezvous of Fairies1897
27
Mother and Child on a Breton Landscape1890
28
Evening (also known as Auvers-sur-Oise)1880
29
The Grammar1892 · Musée d'Orsay
30
Small Landscape with Seaweed Fishermen1889 · Städel Museum
31
Landscape at Pont-Aven1890 · National Gallery of Canada
32
The Dream of the Earth.1892 · Nationalmuseet i Warszawa
33
La jeune Bretonne au pot d'arun1892
34
Les Lavandières de Bellangenet1892
35
Spring1890 · Arp Museum Bahnhof Rolandseck
36
The Stream1892
37
Louise (also known as La Servante bretonne)1890
38
Les Ramasseuses de fougères1892
39
Women in the Vineyard1890
40
The Haymakers1892
41
Melancholy1890
42
Still LIfe with Violets1891 · Norton Simon Museum
43
Seaweed gatherer1890
44
The Haymaker, homage to Van Gogh1892
45
The Seat at Poldu: Sunset1889
46
The Village Path1890
47
Breton Women, the Meeting in the Sacred Grove1892
48
The Young Mothers1891
49
Grammar1892
50
Girl from Savoy1890 · National Gallery
51
The Ile de la Douane, the Mouthe of the Trieux River1892
52
The sewer1892
53
Melancholia, or Breton Eve1890
54
Apple Harvest1891
55
Still Life: The Artist's Studio1891 · Musée d'Orsay
56
Portrait of Paul Ranson Dressed as a Prophet1890
57
The Breton Weaver1888
58
Madeline with the Offering1892
59
Return to the Forest, the Pine Needle Gatherers1898
60
The White cow.1895 · Nationalmuseet i Warszawa
61
The Two cattlemen on the meadow.1894 · Nationalmuseet i Warszawa
62
The Game of Breton children.1894 · Nationalmuseet i Warszawa
63
Le Bois rouge1895
64
Nature morte aux oignons1896
65
Pluie sur la route de la gare1893
66
Vieille Bretonne sous un arbre1898
67
La Fête-Dieu à Châteauneuf-du-Faou1894
68
La Guirlande de roses1898
69
The Wait at the Well1897
70
Le feu dehors (also known as Les Mammau)1893 · Musée de Pont-Aven
71
Vieille Bretonne1893 · Musée des Beaux-Arts de Quimper
72
The Candy Merchant1894
73
Peasant with Three Crows1893
74
Studier til1893 · Musée de Pont-Aven
75
Fair Chateauneuf du Faou1903
76
Landscape1904
77
The Aqueduct1905
78
The Youth of Queen Anne1904
79
Scene1912
80
The Stagecoach Road in the Country with a Cart1903
81
LandscapeIsrael Museum
82
Le café1907 · The Stanley - Audrey Burton Gallery
83
Still Life with Bottle and Fruit1909 · Museum of Art
84
The Reading
85
Libations Five Figures in a Mythical Forest
86
Les porcelets
87
NU DEVANT LA MERMusée d'Orsay
88
PETITE BRETONNE ASSISE
89
The Children's Supper1909 · Israel Museum
90
L'AVERSE
91
La Sainte FaceMusée Des Beaux
92
LA GRAMMAIRE OU L'ETUDE
93
EVE BRETONNE OU MELANCOLIE
94
The Blue Valley1906
95
LA LUTTE BRETONNE
96
LES FILLES DE PELITCHIN
97
Le Berger Corydon
98
LES LAVEUSES A LA LAITA
99
Boys on a River Bank1906 · National Gallery of Victoria
100
Bathers with White Veils1908
The four subjects that come back most often in these originals, each with its finest example.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Paul Sérusier | Malerier fra denne liste |
|---|---|---|---|
 Musée d'Orsay |
Paris | 22 | Breton Woman Feeding Pigs, Still life with apples and jug, The Daughters of Pelichtim |
 Nationalmuseet i Warszawa |
Warszawa | 5 | Naik-the bride (detail)., The Dream of the Earth., The White cow. |
 Musée de Pont-Aven |
Hastenparck | 9 | Le feu dehors (also known as Les Mammau), Studier til |
 Israel Museum |
Jerusalem | 2 | Landscape, The Children's Supper |
 Musée des Beaux-Arts de Quimper |
Quimper | 9 | Vieille Bretonne |
 Musée Des Beaux |
Brest | 6 | La Sainte Face |
 Petit Palais |
Paris | 4 | Morning Mists |
 Bavarian State Painting Collections |
München | 1 | Breton woman going to the washing place |
Pick a decade to see the original that defines it.
In this 1889 oil on canvas, we find ourselves in a moment of rural stillness. A Breton woman is captured in the midst of a simple, repetitive task, tending to two large pigs that dominate the foreground. There is a profound sense of weight here, anchored by the presence of the livestock and the woman’s steady posture. The scene does not seek to dramatize the labor, but rather to observe…
A man sits on the edge of a shoreline, positioned in the foreground of the composition. He is oriented toward a body of water, appearing to engage in fishing or quiet observation. The landscape extends toward a background of mountains that provide a sense of scale and depth. Near the center of the water, a single boat floats, while a second, smaller boat is situated further to the right. Above…
Fisherman on the Laita (1890). Solitude (1891) and Plate of Apples (1891) come next.
26 years old: Fisherman on the Laita dates from 1890, and Paul Sérusier was born in 1864.
Fisherman on the Laita, Solitude, Plate of Apples, Breton woman going to the washing place, Woman in a Street, Breton Woman Feeding Pigs, Naik-the bride (detail)., Breton dance, Bathers og Still life with apples and jug. The ranking above gives each one's year and museum.
Our catalog holds 217 works by Paul Sérusier, dated from 1880 to 1914.
Mostly in Musée d'Orsay (Paris), Nationalmuseet i Warszawa (Warszawa) og Musée de Pont-Aven (Hastenparck). The museum table above lists them all.
In 1890s: 61 of the 100 works on this page were made then, Fisherman on the Laita among them.
On this page, the earliest is Evening (also known as Auvers-sur-Oise) (1880) and the latest Seaside (1914).
Woman (7), Countryside (6) og Symbols (6), across the 100 works on this page.
Oil On Canvas, for 10 of the 100 works on this page.
Post-impressionist synthetism og Synthetism, judging by the originals on this page.
Breton Woman Feeding Pigs, Still life with apples and jug og The Daughters of Pelichtim: the Musée d'Orsay, Paris holds 7 of the works on this page.
Yes, as a reproduction: the original stays in its museum, but any painting on this page can be painted by hand for you, made to order one at a time, from the painting's own page.
Sommeren 1888 ændrede kursen for Paul Sérusiers karriere fundamentalt, da han rejste til Pont-Aven. Her blev han en del af en lille, intens cirkel af kunstnere, der kredsede om Paul Gauguin, et skridt der trak ham væk fra de stive akademiske traditioner. Denne periode var præget af et opgør med den realistiske gengivelse til fordel for noget langt mere strukturelt og direkte. Ved at træde ind i dette fællesskab bevægede Sérusier sig mod en stil, der satte kunstnerens indre perception højere end den blotte efterligning af naturen.
I oktober 1888, under Gauguins tætte vejledning, skabte Paul Sérusier The Talisman. Dette værk fungerede som en ekstrem øvelse i cloisonnisme, hvor dristige, flade former blev adskilt af mørke konturer. Maleriet nærmede sig den rene abstraktion ved at skrælle alle unødvendige detaljer væk for i stedet at fokusere på den essentielle komposition af farve og linje. Det var et radikalt brud med datidens visuelle sprog, og netop dette eksperiment lagde fundamentet for de stilistiske skift, der skulle komme til at definere det næste årti af det moderne maleri.
Sérusiers tilgang til lærredet var et bevidst brud med stræben efter realistisk dybde. Han forkastede det traditionelle perspektiv og valgte i stedet et fladt rum, der prioriterede samspillet mellem farve og form frem for tredimensionel nøjagtighed. Dette skift var drevet af syntetismens principper, en metode defineret ved forenklet tegning og skarpt afgrænsede konturer. Ved at skrælle de subtile gradueringer af lys og skygge, som hans forgængere benyttede, fokuserede han i stedet på motivets essentielle struktur. Resultatet blev et visuelt sprog, der vægtede kunstnerens indre perception højere end den blotte efterligning af naturen.
Hans tekniske udførelse lænede sig tungt op ad cloisonnismen, en stil karakteriseret ved dristige, flade former adskilt af mørke, kraftige konturer. Denne teknik leder tankerne hen på den dekorative cloisonné-emaljekunst, hvor adskilte farvefelter holdes på plads af tynde metaltråde. I værker som Celtic Tale (1894) skaber denne metode en fængslende visuel effekt gennem brugen af intensiverede farver. Han benyttede blokke af ensartede farver til at afgrænse formerne, hvilket skabte en følelse af lysende intensitet, der hvilede på konturens styrke snarere end skyggernes nuancer. Denne strukturelle klarhed står som det mest betydningsfulde aspekt af hans tekniske bidrag til kunsten.
Sérusiers indflydelse strakte sig langt ud over hans individuelle lærreder gennem hans tætte tilknytning til Nabis-gruppen. Han var ikke blot et medlem af denne gruppe; han var med til at give den navn sammen med Paul Gauguin. Dette kollektiv fungerede som et livsvigtigt knudepunkt i avantgarden og forbandt Sérusier med andre betydningsfulde skikkelser som Pierre Bonnard, Édouard Vuillard og Maurice Denis. Deres fælles mål var at bevæge sig væk fra tidligere tiders bogstavelige realisme til fordel for en mere struktureret og symbolsk tilgang til kompositionen.
Hans engagement i disse cirkler var ikke begrænset til oliemalerier på lærred. I 1895 bidrog han med illustrationen Pastorale Bretonne til publikationen The Evergreen: A Northern Seasonal: The Book of Spring. Dette værk demonstrerer, hvordan hans æstetiske principper bevægede sig ind i grafisk design og bogillustration, hvilket udvidede rækkevidden af Nabis-bevægelsens visuelle sprog. Hans evne til at oversætte komplekse idéer til forenklede, flade former gjorde ham til en central figur i dette skifte mod modernismen.
Tyngden af Paul Sérusiers indflydelse hviler tungt på The Talisman. Dette værk, skabt i 1888, fungerede som et vartegn for den tidlige postimpressionisme, syntetismen og cloisonnismen. Det bevægede sig ud over den rene repræsentation for at nærme sig den rene abstraktion, hvilket markerede et definitivt brud med de akademiske traditioner. Dette enkelte værk leverede det visuelle ordforråd, som Les Nabis senere ville adoptere og udvide.
Hans produktion gennem slutningen af det 19. og begyndelsen af det 20. århundrede vidner om en konsekvent dedikation til disse strukturelle principper. I 1890 skabte han Portrait of Paul Ranson, et værk der cementerede hans tilstedeværelse i hans kunstneriske kreds. Ved 1893 viste L'averse hans fortsatte udvikling af stilen. Senere fungerede hans maleri fra 1894, Celtic Tale, som en dybdegående udforskning af lys og farve, hvor han benyttede en flad, næsten geometrisk tilgang til den naturlige verden. Selv i hans senere år, som med The Daughters of Pelichtim i 1908, forblev fokusset på form og essentiel farve centralt for hans kunstneriske virke.
For at vidne det afgørende skift mod abstraktion i Paul Sérusiers kunstneriske virke, er man nødt til at besøge Musée d'Orsay i Paris. Her findes The Talisman, det værk, der definerede hans tidlige brud med det akademiske maleri. Dette maleri står stadig som et fundamentalt referencepunkt for at forstå, hvordan han bevægede sig mod den rene farve og form. Samtidig rummer Musée de Pont-Aven i Hastenparck en betydelig samling af hans værker, hvilket bevarer forbindelsen mellem hans lærreder og det bretonske landskab, som var selve gnisten i hans eksperimenter.
Hans indflydelse rækker langt ud over Frankrigs grænser, og vigtige samlinger findes i store internationale institutioner. I USA huser Museum of Fine Arts i Houston værker som Landscape at Le Pouldu (1890) og Washerwomen (1891). Disse værker vidner om hans evne til at oversætte den fysiske verden til Syntetismens flade, strukturerede sprog. I Europa er det Warsaw National Museum, der bevarer flere udaterede værker, herunder The Snake Eaters og Breton Woman Sitting at the Seashore.
