Ažurirano Listopad 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 217 djela Paul Sérusier u našem katalogu
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 · Nacionalna galerija Kanade
32
The Dream of the Earth.1892 · Narodni muzej u Varšavi
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 · Muzej Norton Simon
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 · Narodni muzej u Varšavi
61
The Two cattlemen on the meadow.1894 · Narodni muzej u Varšavi
62
The Game of Breton children.1894 · Narodni muzej u Varšavi
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
Studies for1893 · 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
LandscapeIzraelski muzej
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 · Izraelski muzej
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.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Paul Sérusier | Slike iz ovog popisa |
|---|---|---|---|
 Musée d'Orsay |
Pariz | 22 | Breton Woman Feeding Pigs, Still life with apples and jug, The Daughters of Pelichtim |
 Narodni muzej u Varšavi |
Varšava | 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), Studies for |
 Izraelski muzej |
Jeruzalem | 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 |
Pariz | 4 | Morning Mists |
 Bavarske državne slikopisne zbirke |
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 i 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 (Pariz), Narodni muzej u Varšavi (Varšava) i 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) i Symbols (6), across the 100 works on this page.
Oil On Canvas, for 10 of the 100 works on this page.
Post-impressionism i Synthetism, judging by the originals on this page.
Breton Woman Feeding Pigs, Still life with apples and jug i The Daughters of Pelichtim: the Musée d'Orsay, Pariz 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.
Ljeto 1888. godine iz promijenilo je smjer karijere Paula Sérusiera kada je otputovao u Pont-Aven. Pridružio se malom krugu umjetnika koji su se okupljali oko Paula Gauguina, što je bio potez koji je njegov fokus skrenio s akademskih tradicija. Ovo razdoblje obilježilo je odbacivanje realističkog prikazivanja u korist nečeg strukturiranijeg i izravnijeg. Pridruživanjem ovoj grupi, Sérusier se okrenuo stilu koji je davao prednost umjetnikovu unutarnjem doživljaju nasuprot puke imitaciji prirode.
U listopadu 1888., pod bliskim vodstvom Gauguina, Paul Sérusier stvorio je djelo The Talisman. Ovo djelo funkcioniralo je kao ekstremna vježba cloisonnizma, koristeći odvažne, plosnate oblike odvojene tamnim konturama. Slika se približavala čistoj apstrakciji, skidajući nepotrebne detalje kako bi se fokusirala na esencijalni raspored boje i linije. Bio je to radikalan odmak od vizualnog jezika tog vremena. Upravo je taj specifični eksperiment postavio temelje za stilski pomak koji će definirati sljedeće desetljeće moderne slikarstva.
Sérusierov pristup platnu bio je promišljen odmak od potrage za realističkom dubinom. Odbacio je tradicionalnu perspektivu, birajući umjesto toga ravnski prostor koji je davao prednost rasporedu boje i forme nad trodimenzionalnom točnošću. Ova je promjena bila vođena principima Sintetizma, metode koju su definirale pojednostavljeni crtež i jasno definirani konturi. Skidajući suptilne gradacije svjetla i sjene koje su koristili njegovi prethodnici, usredotočio se na esencijalnu strukturu subjekta. Rezultat je bio vizualni jezik koji je favorizirao umjetnikovu unutarnju percepciju nasuprot puke imitaciji prirode.
Njegova tehnička izvedba snažno se oslanjala na cloisonnism, stil koji karakteriziraju odvažni, plosnati oblici odvojeni tamnim, teškim konturama. Ova tehnika podsjeća na dekorativnu umjetnost cloisonné emajla, gdje su zasebni odjeli boja učvršćeni žicom. U djelima kao što je Celtic Tale (1894), ova metoda proizvodi upečatljiv vizualni efekt kroz upotrebu intenziviranih boja. Koristio je blokove čiste boje za ocrtavanje oblika, stvarajući osjećaj blistavog intenziteta koji se oslanjao na snagu konture, a ne na nijanse sjente. Ta strukturna jasnoća ostaje najznačajniji aspekt njegovog tehničkog doprinosa.
Sérusierov utjecaj protezao se daleko izvan njegovih pojedinačnih platana kroz njegovo povezivanje s grupom Nabis. On se nije samo pridružio ovoj skupini; on je sudjelovao u njezinom imenovanju uz Paula Gauguina. Ovaj kolektiv funkcionirao je kao vitalni čvor avangarde, povezujući Paul Sérusier s drugim značajnim figurama kao što su Pierre Bonnard, Édouard Vuillard i Maurice Denis. Njihov je zajednički cilj bio odmaknuti se od doslovnosti prethodnih era, dajući prednost strukturiranijem, simboličkom pristupu kompoziciji.
Njegovo sudjelovanje u ovim krugovima nije bilo ograničeno samo na ulje na platnu. Godine 1895. doprinosio je ilustracijom Pastorale Bretonne publikaciji The Evergreen: A Northern Seasonal: The Book of Spring. Ovo djelo pokazuje kako su se njegovi estetski principi proširili na područje grafičkog dizajna i ilustracije knjiga, šireći domet vizualnog jezika Nabisova. Njegova sposobnost prevođenja složenih ideja u pojednostravljene, plosnate oblike učinila ga centralnom figurom u tom preokretu prema modernizmu.
Težina Sérusierovog utjecaja najsnažnije leži u djelu The Talisman. Stvoreno 1888. godine, ovo djelo funkcioniralo je kao prekretnica za rani postimpresionizam, sintetizam i cloisonnizam. Ono je nadmašilo puku reprezentaciju i približilo se čistoj apstrakciji, označavajući definitivan prekid s akademskim tradicijama. To je pojedinačno djelo pružilo vizualni vokabular koji će skupina Nabis kasnije usvojiti i proširiti.
Njegov opus tijekom kasnog 19. i početka 20. stoljeća pokazuje neustrašivu posvećenost tim strukturnim principima. Godine 1890. stvorio je Portrait of Paul Ranson, rad koji je učvrstio njegovo prisustvo unutar umjetničkog kruga. Do 1893. godine, L'averse pokazala je njegov kontinuirani razvoj stila. Kasnije, njegova slika Celtic Tale iz 1894. godine funkcionirala je kao duboko istraživanje svjetla i boje, koristeći spljošteni, gotovo geometrijski pristup prirodnom svijetu. Čak ni u kasnijim godinama, kao što je to bio slučaj s djelom The Daughters of Pelichtim iz 1908., fokus na formu i esencijalnu boju ostao je središnji element njegove umjetničke prakse.
Kako biste doživjeli taj sudbonosni preokret prema apstrakciji u radu koji je ostvario Paul Sérusier, neophodno je posjetiti Musée d'Orsay u Parizu. Upravo se tamo nalazi The Talisman, djelo koje je definiralo njegov rani odmak od akademskog poretka. To platno ostaje ključna referenca za razumijevanje njegovog puta prema čistoj boji i formi. Musée de Pont-Aven u Hastenparcku također čuva značajan dio njegovog opusa, održavajući neraskidivu vezu između njegovih platana i bretonskog krajolika koji je poticao njegovo neustrašivo eksperimentiranje.
Njegov umjetnički domet proteže se daleko izvan granica Francuske, a važni radovi čuvaju se u vodećim svjetskim institucijama. Museum of Fine Arts u Houstonu posjeduje Landscape at Le Pouldu (1890) i Washerwomen (1891). Ova djela svjedoče o njegovoj nevjerojatnoj sposobnosti da fizički svijet pretvori u ravnate, strukturirane elemente Sintetizma. U Europi, Warsaw National Museum čuva nekoliko nedatiranih platonâ, uključujući The Snake Eaters i Breton Woman Sitting at the Seashore.
