拍品专文
Around the turn of the century, after the death of the poet Stephane Mallarmé and the disbandment of the Nabis group, Vuillard's work underwent a noticeable change. In contrast to the densely composed interiors which he executed in the 1890's, later scenes like La chambre verte are brighter in palette and lighter in tone.
From the poetic tensions that so mark the Mallarméan years, 1893 to about 1900, [the artist] moves into a more relaxed, ostensibly less melancholy mood... His looser brushwork and more obvious color arrangements often result in a delightful, even gay, picture which is far removed from the...brooding harmonies of many of his earlier, small panels." (exh. cat., Edouard Vuillard, New York, 1954, p. 24)
Following a visit to Vuillard around this time, the painter Paul Signac similarly remarked upon Vuillard's skillful handling of bright color:
[Vuillard's] deftly noted interiors have great charm. He has
marvelous understanding of the timbre of things. They're the work of a fine painter -- those many-colored panels, predominantly dark in key, but always with an explosion of bright color that somewhere re-established the harmony of the whole picture. The contrast of
tone, the skillfully achieved chiaroscuro -- these balance a
scheme of color, which...is always unusual and delicate..." (J.
Rewald, ed. "Diaries of Paul Signac," La Gazette des Beaux-Arts, April, 1952)
This painting will be included in the forthcoming Vuillard catalogue raisonné being prepared by Antoine Salomon and Annette Leduc Beaulieu from the records and under the responsibility of Antoine Salomon.
From the poetic tensions that so mark the Mallarméan years, 1893 to about 1900, [the artist] moves into a more relaxed, ostensibly less melancholy mood... His looser brushwork and more obvious color arrangements often result in a delightful, even gay, picture which is far removed from the...brooding harmonies of many of his earlier, small panels." (exh. cat., Edouard Vuillard, New York, 1954, p. 24)
Following a visit to Vuillard around this time, the painter Paul Signac similarly remarked upon Vuillard's skillful handling of bright color:
[Vuillard's] deftly noted interiors have great charm. He has
marvelous understanding of the timbre of things. They're the work of a fine painter -- those many-colored panels, predominantly dark in key, but always with an explosion of bright color that somewhere re-established the harmony of the whole picture. The contrast of
tone, the skillfully achieved chiaroscuro -- these balance a
scheme of color, which...is always unusual and delicate..." (J.
Rewald, ed. "Diaries of Paul Signac," La Gazette des Beaux-Arts, April, 1952)
This painting will be included in the forthcoming Vuillard catalogue raisonné being prepared by Antoine Salomon and Annette Leduc Beaulieu from the records and under the responsibility of Antoine Salomon.