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Edouard Vuillard


Vuillard's work is the result of a fertile paradox: admirer of the art of museums of which Le Sueur and Chardin were the representatives, he borrows their colors and techniques from the Nabis. From the years 1880 to 1900, he liked to surprise some family and innocuous scene, then by means of memory and imagination, synthesize this memory, for an intimate painting with frank and colored areas. Although he leaves a large room for subjectivity, like the other nabis, Vuillard remains at a distance from the spiritual quest which underlies the aesthetic orientation of the movement. From 1900, Vuillard broke away from this first affiliation, going backwards through artistic trends. In Le jardin à Amfreville, the sky is captured with an impressionistic concern for nuances and light.