Edouard Vuillard
Painter
Vuillard's work is the result of a fertile paradox: an admirer of the art of the museums of which Le Sueur and Chardin were the representatives, he borrowed their colors and techniques from the Nabis. From the 1880s to 1900, he liked to surprise some family and anodyne scene, then by means of memory and imagination, synthesize this memory, for an intimate painting with frank and colored flat tints. Although he leaves a large place to subjectivity, like the other Nabis, Vuillard remains at a distance from the spiritual quest that underlies the aesthetic orientation of the movement. From 1900 on, Vuillard detached himself from this initial affiliation, moving backwards through the artistic currents. In The Garden at Amfreville, the sky is captured with an impressionistic concern for nuance and light.
