57 Facts About Vuillard

Jean-Edouard Vuillard was a French painter, decorative artist and printmaker.

Vuillard was a decorative artist, painting theater sets, panels for interior decoration, and designing plates and stained glass.

Vuillard was influenced by Paul Gauguin, among other post-impressionist painters.

Jean-Edouard Vuillard was born on 11 November 1868 in Cuiseaux, where he spent his youth.

Vuillard's father was a retired captain of the naval infantry, who after leaving the military became a tax collector.

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Vuillard's father was 27 years older than his mother, Marie Vuillard, who was a seamstress.

Vuillard was awarded a scholarship to attend the prestigious Lycee Fontaine, which in 1883 became the Lycee Condorcet.

Vuillard studied rhetoric and art, making drawings of works by Michelangelo and classical sculptures.

Vuillard joined Roussel at the studio of painter Diogene Maillart, in the former studio of Eugene Delacroix on Place Furstenberg.

In July 1887, the persistent Vuillard was accepted, and was placed in the course of Robert-Fleury, then in 1888 with the academic history painter Jean-Leon Gerome.

Vuillard painted a self-portrait with his friend Waroquoy, and had a crayon portrait of his grandmother accepted for the Salon of 1889.

In 1890, through Denis, Vuillard became a member of the group, which met in Ransom's studio or in the cafes of the Passage Brady.

The existence of the organization was in theory secret, and members used coded nicknames; Vuillard became the Nabi Zouave, because of his military service.

Vuillard shared a studio at 28 Rue Pigalle with Bonnard with the theater impresario Lugne-Poe, and the theater critic Georges Rousel.

Vuillard designed sets for several works by Maeterlinck and other symbolist writers.

Vuillard showed two paintings, including The Woman in a Striped Dress .

Vuillard began keeping a journal during this time, which records the formation of his artistic philosophy.

Vuillard himself acquired a personal collection of 180 prints, some of which are visible in the backgrounds of his paintings.

Vuillard created theatrical sets and programs, decorative murals and painted screens, prints, designs for stained glass windows, and ceramic plates.

Vuillard's graphics appeared in the journal, together with Pierre Bonnard, Henri de Toulouse-Lautrec, Felix Vallotton and others.

In 1892, on a commission for Natanson brothers, Vuillard painted his first decorations for the house of Mme Desmarais.

Vuillard made others in 1894 for Alexandre Natanson, and in 1898 for Claude Anet.

Vuillard used some of the same techniques he had used in the theater for making scenery, such as, or distemper, which allowed him to make large panels more quickly.

Vuillard designed his panels and murals to fit into the architectural setting and the interests of the client.

Between 1892 and 1899, Vuillard made eight cycles of decorative paintings, with altogether some thirty panels.

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Vuillard received the commission on 24 August 1894, and completed the series at the end of the same year.

Vuillard frequently painted interior scenes, usually of women in a workplace, at home, or in a garden.

Vuillard painted a series of paintings of seamstresses in the workshop of a dressmaker, based on the workshop of his mother.

Vuillard placed a mirror on the wall to the left, a device which allowed him to give two points of view simultaneously and to reflect and distort the scene.

In 1895 Vuillard received a commission from the cardiologist Henri Vaquez for four panels to decorate the library of his Paris house at 27 rue du General Foy.

The setting appears to be the apartment of the Nabi painter Paul Ranson, reading a book; Madame Vuillard seated in an armchair, Ida Rousseau coming in the door, and her daughter Germaine Rousseau, standing at the left.

Vuillard had formerly been, with the Nabis, in the vanguard of the avant-garde.

Vuillard continued to paint interiors, but the interiors had more light and color, more depth, and the faces and features were clearer.

Vuillard held his second large personal exhibition at the Gallerie Bernheim-Jeune in November 1908, where he presented many of his new landscapes.

In 1912, Vuillard painted Theodore Duret in his Study, a commissioned portrait that signaled a new phase in Vuillard's work, which was dominated by portraiture from 1920 onwards.

Vuillard particularly captured the play of the sunlight on the gardens and his subjects.

Vuillard did not want to return to the past, but wanted to move into the future with a vision that was more decorative, naturalistic and familiar than that of the modernists.

Vuillard made new series of decorative panels, depicting urban scenes and parks in Paris, as well as many interior scenes of Paris shops and homes.

Vuillard depicted the galleries of the Louvre Museum and the Museum of Decorative Arts, the chapel of the Palace of Versailles.

Vuillard had begun as a Nabi by making sets and designing programs for an avant-garde theater, and throughout his life had close contacts with theater people.

Vuillard was a friend of, and painted the actor and director Sacha Guitry.

Vuillard attended the performances of the Ballets Russes between 1911 and 1914, and dined with the Russian director of the Ballet, Sergei Diaghilev, and with the American dancer Isadora Duncan, and frequented the Folies Bergere and the Moulin Rouge in their heyday.

Vuillard was released from this duty, and returned to painting.

Vuillard visited the armaments factory of his patron, Thadee Natanson, near Lyon, and later made a series of three paintings of the factories at work.

Vuillard completed a series of four panels, plus two over-the-door paintings, which were finished by 1922.

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Vuillard passed his summers each year from 1917 to 1924 at Vaucresson, at a house he rented with his mother.

Vuillard preferred to use the technique of, or distemper technique, which allowed him to create more precise details and richer color effects.

Vuillard's subjects ranged from the actor and director Sacha Guitry to the fashion designer Jeanne Lanvin, Lanvin's daughter, the Contesse Marie-Blanche de Polignac, the inventor and aviation pioneer Marcel Kapferer, and the actress Jane Renouardt.

Vuillard usually presented his subjects in their studios or homes or backstage, with lavishly detailed backgrounds, wallpaper, furnishings and carpets.

Vuillard did not receive any official recognition from the French state until July 1936, when he was commissioned to make a mural, La Comedie, depicting his impressions of the history of the Paris theater world for the foyer of the new Theatre national de Chaillot, built for the 1937 Paris International Exposition.

Vuillard was elected in February 1938 to the Academie des Beaux Arts, and in July 1938 the Musee des Arts Decoratifs presented a major retrospective of his paintings.

Vuillard suffered from pulmonary difficulties, and traveled to La Baule in Loire-Atlantique to restore his health.

Vuillard died there on 21 June 1940, the same month that the French army was defeated by the Germans in the Battle of France.

Vuillard was unmarried, but his personal life and his work were greatly influenced by his women friends.

Vuillard helped her decorate the Natansons' apartment, painted her often in his decorative panels, and regularly accompanied her and her husband to their country house.

In 1900 Vuillard met Lucy Hessel, wife of a Swiss art dealer, who became his new muse, traveling with him each year to Normandy in July, August and September, and giving him advice.

Vuillard's remained with him, despite many rivals and many dramatic scenes, until the end of his life.