更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 217 件 保羅·塞律西埃 作品收录于我们的目录中
简而言之
Fisherman on the Laita (1890) 是保羅·塞律西埃最受瞩目的画作。 随后，目光会移向 Solitude (1891) 和 Plate of Apples (1891)。 在 保羅·塞律西埃 的 217 件作品中，这 100 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
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.
We are looking at Breton dance, a work produced by the French artist Paul Sérusier. Created in 1890, this piece emerged during a significant period of stylistic transition for the artist. Sérusier, who lived from 1864 to 1927, was a central figure in the avant-garde circles of his time, moving away from academic traditions toward a more structured, personal way of seeing the world.
In this 1912 oil on canvas, we find ourselves observing a moment of profound stillness. The scene depicts two figures resting near a tree and a stream, their presence integrated into a landscape that feels both intimate and expansive. There is a certain weight to the composition, a sense that the figures are not merely placed within the environment but are an essential part of its structural rhythm. The background…
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 · 克莱斯勒艺术博物馆
14
Bretonne au Champ de Blé (Breton Woman in Meadow)1890 · 阿什莫林博物馆
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 · 奥赛博物馆
20
Evening1884
21
Les Bretonnes1891
22
Laundresses at the River1892 · 奥赛博物馆
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 · 奥赛博物馆
30
Small Landscape with Seaweed Fishermen1889 · 施泰德美术馆
31
Landscape at Pont-Aven1890 · 加拿大国家美术馆
32
The Dream of the Earth.1892 · 华沙国家博物馆
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 · 诺顿·西蒙博物馆
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 · 国家美术馆
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 · 奥赛博物馆
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 · 华沙国家博物馆
61
The Two cattlemen on the meadow.1894 · 华沙国家博物馆
62
The Game of Breton children.1894 · 华沙国家博物馆
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
Landscape以色列博物馆
82
Le café1907 · The Stanley - Audrey Burton Gallery
83
Still Life with Bottle and Fruit1909 · 圣地亚哥艺术博物馆
84
The Reading
85
Libations Five Figures in a Mythical Forest
86
Les porcelets
87
NU DEVANT LA MER奥赛博物馆
88
PETITE BRETONNE ASSISE
89
The Children's Supper1909 · 以色列博物馆
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 · 维多利亚州国立美术馆
100
Bathers with White Veils1908
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 保羅·塞律西埃 的作品 | 此列表中的画作 |
|---|---|---|---|
 奥赛博物馆 |
巴黎 | 22 | Breton Woman Feeding Pigs, Still life with apples and jug, The Daughters of Pelichtim |
 华沙国家博物馆 |
华沙 | 5 | Naik-the bride (detail)., The Dream of the Earth., The White cow. |
 Musée de Pont-Aven |
哈斯滕帕克 | 9 | Le feu dehors (also known as Les Mammau), Studies for |
 以色列博物馆 |
耶路撒冷 | 2 | Landscape, The Children's Supper |
 Musée des Beaux-Arts de Quimper |
坎佩尔 | 9 | Vieille Bretonne |
 Musée Des Beaux |
布雷斯特 | 6 | La Sainte Face |
 Petit Palais |
巴黎 | 4 | Morning Mists |
 巴伐利亚州绘画收藏馆 |
慕尼黑 | 1 | Breton woman going to the washing place |
选择一个年代，探索定义该时代的原创杰作。
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…
Morning Mists by Paul Sérusier, created about 1907, presents a pastoral scene defined by a heavy, atmospheric haze. The subject matter centers on two female figures positioned within a misty landscape. On the left side of the composition, one figure is shown standing, while on the right, a second figure is seated. These figures are situated against a background of receding hills that diminish in clarity as they move toward…
In this 1912 oil on canvas, we find ourselves observing a moment of profound stillness. The scene depicts two figures resting near a tree and a stream, their presence integrated into a landscape that feels both intimate and expansive. There is a certain weight to the composition, a sense that the figures are not merely placed within the environment but are an essential part of its structural rhythm. The background…
Fisherman on the Laita (1890)。紧随其后的是 Solitude (1891) 和 Plate of Apples (1891)。
26岁：Fisherman on the Laita创作于1890年，保羅·塞律西埃出生于1864年。
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 及 Still life with apples and jug。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 217 件 保羅·塞律西埃 的作品，创作年代从 1880 年至 1914 年。
多见于 奥赛博物馆 (巴黎), 华沙国家博物馆 (华沙) 及 Musée de Pont-Aven (哈斯滕帕克)。上方的博物馆列表列出了所有相关机构。
在 1890s 期间：本页 100 件作品中有 61 件创作于该时期，其中包含 Fisherman on the Laita 件作品。
在本页面中，最早的作品创作于 Evening (also known as Auvers-sur-Oise) (1880)，最晚的创作于 Seaside (1914)。
Woman (10), Landscape (8) 及 Trees (7)，共计 100 件作品。
Oil On Canvas，共计 15 件（本页共有 100 件作品）。
根据本页面的原作，Post-impressionism 及 Synthetism
Breton Woman Feeding Pigs, Still life with apples and jug 及 The Daughters of Pelichtim：奥赛博物馆, 巴黎收藏了本页中 7 件作品。
1888年的夏天，保羅·塞律西埃前往蓬阿万的旅程彻底改变了他的艺术轨迹。在那里，他加入了一个以 保罗·高更 为核心的艺术家小团体，这一举动使他的创作重心逐渐脱离了传统的学院派束缚。这一时期最显著的特征，便是对写实描绘的摒弃，转而追求一种更具结构感和直接性的表达方式。通过融入这个群体，保羅·塞律西埃开始向一种全新的风格迈进——这种风格不再满足于对自然的单纯模仿，而是将艺术家的内在感知置于至高无上的地位。
在1888年10月，在高更的密切指导下，保羅·塞律西埃创作出了著名的 《护身符》。这件作品可以被视为一种极端的“罩染法”实践，它运用大胆且扁平的色块，并以深色的轮廓线将其分隔开来。这幅画作已然触及了纯粹抽象的边缘，通过剥离所有不必要的细节，将所有的艺术能量都凝聚在色彩与线条的本质构成之中。这在当时的视觉语言中是一场激进的革命，而正是这次独特的艺术实验，为随后十年现代绘画风格的剧烈变革奠定了坚实的基础。
保羅·塞律西埃对画布的处理方式，是对追求写实深度的一种自觉背离。他拒绝了传统的透视法，转而选择一种扁平化的空间，将色彩与形式的排列置于三维准确性之上。这种转变是由综合主义（Synthetism）的原则所驱动的，这种方法以简化的线条和清晰的轮廓为特征。通过剥离前辈们所使用的细腻的光影渐变，他将注意力集中在主题的本质结构上。其结果是创造出一种视觉语言，这种语言更看重艺术家的内在感知，而非对自然的单纯模仿。
他的技法执行在很大程度上依赖于罩染法（Cloisonnism），这种风格的特点是使用大胆、扁平的色块，并由深重且厚实的轮廓线进行分隔。这种技法让人联想到掐丝珐琅的装饰艺术，在后者中，不同的色彩区域由金属丝固定。在如 Celtic Tale (1894) 等作品中，这种方法通过强化色彩的使用，产生了一种令人震撼的视觉效果。他利用色块来勾勒形状，创造出一种依靠轮廓强度而非阴影细微差别所带来的明亮感。这种结构上的清晰度，始终是他技术贡献中最具意义的方面。
通过与“纳比”团体的紧密联系，保羅·塞律西埃的影响力早已超越了他个人画布的边界。他并非仅仅是这个团体的成员，而是与保罗·高更共同参与了这一艺术命名的过程。这个集体在先锋派艺术中扮演着至关重要的枢纽角色，将保羅·塞律西埃与诸如 皮埃尔·邦纳、爱德华·武亚尔和莫里斯·丹尼斯等艺术巨匠联系在一起。他们拥有一个共同的愿景：摆脱以往时代对写实主义的执着，转而追求一种更具结构感、更具象征意义的构图方式。
他在这些艺术圈层中的探索并不局限于布面油画。1895年，他为出版物 《常青树：北方四季：春之书》 创作了插画作品 《布列塔尼田园曲》。这件作品生动地展示了他的美学原则是如何跨越绘画领域，延伸至平面设计与书籍插画之中的，从而极大地扩展了“纳比”派视觉语言的传播范围。保羅·塞律西埃能够将复杂的思想转化为简约且扁平化的形式，这使他成为了这场迈向现代主义变革运动中的核心人物。
保羅·塞律西埃艺术影响力的核心，深深植根于他的杰作《护身符》之中。这件创作于1888年的作品，不仅是早期后印象派、综合主义与罩染法的里程碑，更是一次向纯粹抽象迈进的伟大尝试，标志着对传统学院派传统的彻底决裂。正是通过这件作品，保羅·塞律西埃创造出了一套全新的视觉语言，为后来“纳比派”艺术风格的形成与扩张奠定了基石。
在19世纪末至20世纪初的创作生涯中，他始终如一地践行着这些结构性的艺术原则。1890年，他创作了保罗·兰松肖像，这幅作品进一步巩固了他在艺术圈内的地位。到了1893年，《倾盆大雨》展现了他对个人风格持续不断的深化与演进。随后，他在1894年创作的《凯尔特故事》则成为一场对光影与色彩的深刻探索，他运用一种扁平化、近乎几何化的手法重新诠释了自然世界。即便是在他艺术生涯的晚期，例如1908年的《佩利希提姆之女》，对形式与本质色彩的追求依然是他创作实践的核心灵魂。
若想亲眼见证保羅·塞律西埃艺术实践中向抽象主义迈进的华丽转身，巴黎的奥赛博物馆是绝不可错过的圣地。那里珍藏着《护身符》，这件杰作定义了他早期脱离学院派传统的艺术轨迹，至今仍是理解他如何走向纯粹色彩与形式演变的核心参考。而在哈斯滕帕克，蓬阿万博物馆亦保存着大量他的重要作品，生动地维系着他的画布与那片激发了他无尽实验精神的布列塔尼风景之间的深厚纽带。
保羅·塞律西埃的影响力早已跨越了法国国界，其重要的艺术收藏散见于世界各大国际艺术殿堂。在休斯顿的美术馆中，你可以领略到《勒普卢的风景》（1890）以及《洗衣女工》（1891）的韵致，这些作品深刻展示了他如何将物质世界转化为综合主义那扁平且具结构感的视觉语言。而在欧洲，华沙国家博物馆则悉心保存了几件未标注日期的珍贵作品，其中包括《蛇食者》以及《坐在海边的布列塔尼妇女》。
