Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 201 djela Émile Bernard u našem katalogu
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Od svih originala koje je Émile Bernard ostavio, najpoznatiji je Iron Bridges at Asnières (1887) u kolekciji muzeja MoMA - Museum of Modern Art, New York City. Samo iza njih slijede Portrait of Marie Lemasson (1892) i Self-Portrait 1918 (1919). Naš katalog sadrži 201 djela umjetnika Émile Bernard; galerija je čuvala onih 100 koja svijet najviše divi, a svako je prikazano s datumom nastanka, muzejom i pričanom.
The scene unfolds within the frame of Iron Bridges at Asnières, a work that captures a specific moment in the evolution of modern painting. Created in 1887, this piece emerges from the creative energy of the late nineteenth century. The artist, Émile Bernard, moves away from the fleeting light of earlier movements to find a new way of seeing the world. This Post-Impressionist work marks a departure from simple observation,…
Marie Lemasson sits before the viewer, a quiet presence anchored in a sea of teal and seafoam green. Her gaze is direct, meeting the eye with a stoic, unblinking calm. She wears a pale lavender-white blouse that catches the diffused light, a soft contrast to the deep burgundy of her skirt. The background is a rhythmic arrangement of vertical stripes, creating a shallow space that pushes her figure forward. There…
An intimate study of an aging artist, this oil on paper portrait captures a moment of profound introspection. The subject is positioned in a close-up view, his head and upper torso emerging from a deep, shadowed background. He holds a palette and brush, tools of his trade that anchor the composition in the act of creation. The lighting is highly directional, striking the face from the upper left and casting…
Buckwheat Harvesters at Pont Aven is an oil on canvas work by Émile Bernard, executed in 1888. The piece captures a scene of buckwheat harvesting within a rural landscape, focusing on the labor of women in the Brittany region. It is currently held at the Musée de Pont-Aven in Hastenparck.
In Après le bain (les nymphes), the artist Émile Bernard invites us into a quiet, secluded moment of repose. Three nude female figures occupy the scene, their bodies arranged in a way that suggests a lingering sense of intimacy. Based on the title, these women appear to be nymphs, mythical beings caught in a state of languid rest within a natural setting. The air feels still around them, as if…
The gaze of the subject meets the viewer in Portrait of a Black Woman, a work that captures a quiet, heavy stillness. Painted by Émile Bernard, this piece emerges from a period of intense creative exploration. It exists under the title Portrait of a Black Woman, though some records identify the work as Study Of A Mulatto Woman, 1895. This distinction offers a glimpse into how the subject is perceived…
The evening air feels heavy and alive in Night Festival, an oil painting by Émile Bernard. Created about 1888, this work captures a moment of communal celebration suspended in the dark. The scene pulls the viewer into a nocturnal gathering where the glow of light meets the deep shadows of the night. It is a piece that belongs firmly to the Post-Impressionist movement, marking a departure from the fleeting light…
The Harvest by Émile Bernard depicts a rural scene centered on agricultural labor. Within a field that slopes upward toward the top of the frame, several figures engage in the process of harvesting grain. Two figures are shown bending over the crop, while a third figure stands facing forward. The scene captures a moment of manual work in a landscape characterized by trees and harvested grain.
Portrait du père Tanguy1887 · Kunstmuseum Basel
12
Victorine Lelopin1891 · Ackland Art Museum
13
The Wave1892 · Ackland Art Museum
14
The Salon1890 · Dallas Museum of Art
15
Confirmand's Procession1891 · Davis Museum and Cultural Center
16
The Breton wrestlers1889
17
Portrait of Madeline, the Artist's Sister1889 · Art Museum at The University of Kentucky
18
Breton Girl with a Red Umbrella1888 · Muzej fine umjetnosti u Houstonu
19
Self-Portrait as a Troubadour1892 · Nacionalni muzej zapadne umjetnosti
20
The Annunciation1890 · Thyssen-Bornemisza Museum
21
Inside a Shop in Pont-Aven1887 · Thyssen-Bornemisza Museum
22
The Artist's Grandmother1887 · Muzej likovnih umjetnosti
23
Woman Sitting in a Field: Brittany1890 · Van Gogh muzej
24
Symbolic Self-Portrait1891 · Musée d'Orsay
25
Portrait of my sister Madeleine1888 · Musée Toulouse-Lautrec
26
Gaulish apple pickers1892
27
Portrait de Madame Lemasson1891
28
Death of the Knight (La Mort du cavalier)1892
29
Woman in Profile1895
30
Three Women on the Banks of a River1895
31
Fellah Women at the Bath1900 · Musée des Beaux-Arts
32
Bathing Men1904 · Musée d'Unterlinden
33
Breton Women in a Ferry Boat1900 · San Diego Museum of Art
34
Toilet of Venus1911 · Musée des Beaux-Arts
35
Woman's Head1920 · Harvard Art Museums
36
Melancholy1935 · Musée d'art Moderne de la Ville de Paris
37
Portrait of Andries Bonger (1861-1936), his wife Annie van der Linden and Emile Bernard (1868-1941)1908 · Van Gogh muzej
38
Breton Women1940 · Musée d'art Moderne de la Ville de Paris
39
Self-Portrait1888 · Barnes Foundation
40
Board decorated with tendrils and flowers1906 · Van Gogh muzej
41
Landscape at Pont-Aven with Poplars1888 · Musée de Pont-Aven
42
Still life with flowers in a jug1904 · Van Gogh muzej
43
The Adoration of the Shepherds1889 · Musée de Pont-Aven
44
Study for The Buckwheat Harvesters1888 · Musée de Pont-Aven
45
Breton Women with SeaweedIndianapolis Museum of Art
46
Funeral palls 11885 · Musée des Beaux-Arts de Quimper
47
Funeral palls 21885 · Musée des Beaux-Arts de Quimper
48
Houses in Pont-Aven1890 · Wallraf-Richartz-Museum
49
Landscape, Saint-Briac1888 · Kelvingrove Art Gallery and Museum
50
Still Life with Fruit, Cup and Pitcher1888 · Des Moines Art Center
51
Two Breton women in a meadow1886 · Van Gogh muzej
52
Boy sitting in the grass1886 · Van Gogh muzej
53
Woman Walking on the Banks of the Aven1890 · Muzej fine umjetnosti u Houstonu
54
The Cliffs at Le Pouldu1887 · Thyssen-Bornemisza Museum
55
Still Life with Fruit1890 · Art Institute of Chicago
56
House Among Trees: Pont-Aven1888 · Van Gogh muzej
57
Vase with Flowers and Cup1887 · Van Gogh muzej
58
Landscape at Pont-Aven1889 · Van Gogh muzej
59
Still Life with Flowers1887 · Muzej Norton Simon
60
Brittany Landscape1888 · Muzej Norton Simon
61
Still Life with Jug1890 · Gothenburg Museum of Art
62
Still Life with Teapot, Apples and Dishes1892
63
Still Life with Pears on a White Tablecloth1891
64
Catalogue for the Van Gogh Exhibition at Le Barc de Boutteville and Lottery Ticket1891
65
Springtime1892
66
Woman at Saint-Briac1886
67
Landscape, Saint Briac1889
68
Orchard at Pont Aven1886 · Musée des Beaux-Arts de Quimper
69
Still Life with Fruit and Pitcher1896
70
Still Life with Grapes1893
71
Spanish street musician and his family1897
72
Landscape, Aix-les-Bains1904 · Hood Museum of Art
73
View of Castle in Semur1905 · Tokyo Fuji Art Museum
74
Jeune Fille Sur La Colline1904 · Fine Arts Museums of San Francisco
75
Parisian WomanNacionalni muzej zapadne umjetnosti
76
2 men .... sitting in a cellar
77
Woman standing
78
On the boulevard
79
Working bretones
80
Mercury and Two Women
81
Apple picking
82
Bretons with umbrellas
83
Annunciation
84
Woman Sewing
85
Bearing apple
86
Death
87
Banquet Scene
88
Breton Peasant Women in a field
89
Street Scene
90
La Dame au Manchon (Woman with a Muff)
91
Sleep
92
Madeleine at the tree of lovePortland Museum of Art
93
Study of bretons
94
Au bord de la Marne
95
Portrait of Paul Sérusier
96
The Archer
97
Christ Carrying the Cross with Saint Veronica near him
98
Bridge at Pont-AvenDallas Museum of Art
99
Portrait of a painter in a red robe
100
Nude with a plate of cherries
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Émile Bernard | Slike iz ovog popisa |
|---|---|---|---|
 Van Gogh muzej |
Amsterdam | 11 | Self-Portrait 1918, Woman Sitting in a Field: Brittany, Portrait of Andries Bonger (1861-1936), his wife Annie van der Linden and Emile Bernard (1868-1941) |
 Musée de Pont-Aven |
Hastenparck | 7 | Landscape at Pont-Aven with Poplars, The Adoration of the Shepherds, Study for The Buckwheat Harvesters |
 Thyssen-Bornemisza Museum |
Madrid | 4 | The Annunciation, Inside a Shop in Pont-Aven, The Cliffs at Le Pouldu |
 Musée des Beaux-Arts de Quimper |
Quimper | 4 | Funeral palls 1, Funeral palls 2, Orchard at Pont Aven |
 Wallraf-Richartz-Museum |
Köln | 3 | Loving Couple, Houses in Pont-Aven |
 Dallas Museum of Art |
Dallas | 3 | The Salon, Bridge at Pont-Aven |
 Musée des Beaux-Arts |
Reims | 3 | Fellah Women at the Bath, Toilet of Venus |
 Ackland Art Museum |
Chapel Hill | 2 | Victorine Lelopin, The Wave |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
The scene unfolds within the frame of Iron Bridges at Asnières, a work that captures a specific moment in the evolution of modern painting. Created in 1887, this piece emerges from the creative energy of the late nineteenth century. The artist, Émile Bernard, moves away from the fleeting light of earlier movements to find a new way of seeing the world. This Post-Impressionist work marks a departure from simple observation,…
Marie Lemasson sits before the viewer, a quiet presence anchored in a sea of teal and seafoam green. Her gaze is direct, meeting the eye with a stoic, unblinking calm. She wears a pale lavender-white blouse that catches the diffused light, a soft contrast to the deep burgundy of her skirt. The background is a rhythmic arrangement of vertical stripes, creating a shallow space that pushes her figure forward. There…
An intimate study of an aging artist, this oil on paper portrait captures a moment of profound introspection. The subject is positioned in a close-up view, his head and upper torso emerging from a deep, shadowed background. He holds a palette and brush, tools of his trade that anchor the composition in the act of creation. The lighting is highly directional, striking the face from the upper left and casting…
Iron Bridges at Asnières (1887), MoMA - Museum of Modern Art, New York City. Nakon njih slijede Portrait of Marie Lemasson (1892) i Self-Portrait 1918 (1919).
19 godina: Iron Bridges at Asnières datira iz 1887, a Émile Bernard je rođen/a 1868.
Iron Bridges at Asnières, Portrait of Marie Lemasson, Self-Portrait 1918, Buckwheat Harvesters at Pont Aven, Après le bain (les nymphes), Portrait of a Black Woman, Night Festival, The Harvest, Loving Couple i The Harvest at Saint-Briac. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 201 djela umjetnika Émile Bernard, datiranih od 1885 do 1940.
Većinom u Van Gogh muzej (Amsterdam), Musée de Pont-Aven (Hastenparck) i Thyssen-Bornemisza Museum (Madrid). Gornja tablica muzeja navodi sve njih.
U 1880s: 29 od 100 djela na ovoj stranici nastalo je tada, od čega je Iron Bridges at Asnières Iron Bridges at Asnières.
Na ovoj stranici najstarije djelo je iz Funeral palls 1 (1885), a najnovije iz Breton Women (1940).
Women (12), People (7) i Woman (4), kroz svih 100 djela na ovoj stranici.
Oil On Canvas, za 9 od 100 djela na ovoj stranici.
Post-impressionist synthetism, sudeći po originalima na ovoj stranici.
Self-Portrait 1918, Woman Sitting in a Field: Brittany i Portrait of Andries Bonger (1861-1936), his wife Annie van der Linden and Emile Bernard (1868-1941): Van Gogh muzej, Amsterdam posjeduje 10 djela s ove stranice.
Émile Henri Bernard, rođen 28. travnja 1868. godine u Lilleu, Francuska, bio je umjetnik koji se istaknuo kao ključna figura postimpresionističkog pokreta. Njegov život i rad obilježeni su dubokom potragom za novim načinima izražavanja, odbacivanjem konvencija impresionizma i uspostavljanjem osobnog stila koji je snažno utjecao na razvoj moderne umjetnosti. Bernardovo djetinjstvo bilo je sjenovito zbog bolesti njegove sestre, što ga je dovelo do odgoja kod bake koja je vodila praonicu u Lilleu. Ovo okruženje pružilo mu je poticajnu atmosferu za razvoj njegovih ranih umjetničkih sklonosti.
Nakon preseljenja obitelji u Pariz 1878. godine, Bernard se upisuje na Collège Sainte-Barbe, a potom i na École des Arts Décoratifs. Godine 1884., pridružuje se Atelieru Cormon, gdje eksperimentira s tehnikama impresionizma i pointilizma. Međutim, njegova ekspresivna priroda ubrzo dovodi do suspenzije s Beaux-Artsa, što ga potiče na transformativno putovanje kroz Bretanju pješice.
Putovanja Bernardova u Bretanji imala su dubok utjecaj na njegov umjetnički razvoj. Upoznaje lokalne tradicije i pejzaže koji snažno rezoniraju s njim, oblikujući njegovu viziju i stil. Ključni trenutak dolazi u kolovozu 1886. godine kada upoznaje Paula Gauguina u Pont-Avenu. Ovaj susret pokreće blisko umjetničko prijateljstvo koje duboko utječe na rad obaju umjetnika.
Bernardov stil igra ključnu ulogu u oblikovanju zrele faze rada Paula Gauguina, posebno u njegovom istraživanju simbolizma i spljoštenih oblika. Također se druži s Vincentom van Goghom, postajući dio “Škole Petit-Boulevarda” zajedno s Anquetinom i Toulouse-Lautrecom. Ova intelektualna i umjetnička sredina dodatno potiče njegovu kreativnost i eksperimentiranje.
Cloisonnism: Bernard se smatra pionirskim predstavnikom cloisonnizma, stila karakteriziranog smjelim, ravnim oblicima odvojenim tamnim konturama – što podsjeća na vitral. Ovaj pristup naglašava dekorativnost i pojednostavljenje oblika, udaljavajući se od naturalističkog prikaza impresionizma.
Synthetism: Igrao je ključnu ulogu i u razvoju syntetizma, koji je naglasak stavljao na stvaranje umjetnosti temeljene na subjektivnom iskustvu i simboličkom značenju umjesto izravnog promatranja prirode. Syntetizam teži reducirati oblike na njihovu najbitniju esenciju, koristeći boje i linije za prenošenje emocija i ideja.
Ovi pokreti predstavljali su odmak od impresionizma, usredotočujući se umjesto toga na strukturu, simbolizam i emocionalni izraz. Bernard je aktivno sudjelovao u teorijskim raspravama o novim umjetničkim smjerovima, doprinoseći definiranju ovih pokreta.
La Grandmère (1887): Dirljiv portret njegove bake, koji pokazuje rani majstorstvo ekspresivnog oblika i boje. Ovo djelo se smatra jednim od njegovih najikoničnijih uradaka, ističući njegovu sposobnost prenošenja dubokih emocija kroz jednostavne kompozicije.
Brojni bretonski pejzaži koji dočaravaju bit ruralnog života u Bretanji. Ti radovi odražavaju njegov interes za lokalnu kulturu i tradiciju, te njegovu želju da uhvati atmosferu i duh mjesta.
Religiozna djela poput “Poklonstvo pastira” demonstriraju njegovo istraživanje simboličkih tema. Kroz ova djela Bernard se bavi pitanjima vjere, duhovnosti i ljudske egzistencije.
Osim slikanja, Bernard je bio plodan pisac, stvarajući drame, poeziju i umjetničku kritiku. Njegovi spisi pružaju dragocjene uvide iz prve ruke u razvoj moderne umjetnosti tijekom njegova vremena.
Nasljeđe: Doprinosi Émilea Bernarda postimpresionizmu, posebno njegova uloga u oblikovanju cloisonnizma i syntetizma, ostavili su trajan utjecaj na tijek moderne umjetnosti. Njegov rad je proputovao put za kasniji pokret kao što je Fauvizam i Ekspresionizam, utječući na generacije umjetnika da istražuju subjektivni izraz i simboličku reprezentaciju.
Umro je 1941. godine, ostavljajući iza sebe bogato djelo koje se nastavlja slaviti zbog svoje originalnosti i umjetničke inovativnosti. Njegova vizija i hrabrost u odbacivanju konvencija učinile su ga važnom figurom u povijesti moderne umjetnosti.
