Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. From then on, the paintings were based on forms, lines, and colours. The preoccupation with an internal geometry set them apart from earlier studies. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. Everything was called into question again: both the linear layout of the picture and its colour scheme the choice of subject and its material aspect its manufacture and its purpose. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner.Ībout 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. ‘Intimacy’ developed immediately between the painter and this modest environment inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. His empathy for the object had already compelled him to soften its appearance the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others.
His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety.
In 1937, he was elected member of the Institute.Īt first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. From 1908, he taught at the Académie Ranson. He studied in Maillart’s studio for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’).
Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law.
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