Nabis

Nabis (1888-1900)

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OVERVIEW	The Nabist (Hebrew: "prophet") group was the result of a meeting between Gauguin and Sérusier in 1888. The aim of the group, whose most famous members were Sérusier, Maurice Denis, Desvallières, Roussel, Vuillard, Bonnard, and Vallotton, was to regenerate painting by simplifying design and tone, suppressing relief and depth, using the arabesque, and placing emphasis on composition. The Nabis were decorators (for churches and theaters), book illustrators, and poster designers. Associates of both contemporary poets and the Revue Blanche, the Nabis influenced their contemporaries and, historically speaking, linked Impressionism and Fauvism. "Young people," relates Maurice Denis, speaking of the beginnings of the movement, "were almost totally unaware of the great aesthetic movement called Impressionism, which had just revolutionized painting. They had only gotten as far as Roll and Dagnan, as far as admiring Bastien-Lepage and discussing Puvis de Chavannes with respectful indifference. They talked ill-informedly of Peladan, Wagner, Lamoureux's concerts, and decadent literature; one of Ledrain's pupils initiated us into Semitic literature, and Sérusier demonstrated the doctrines of Plato and the Alexandrian school to the young Maurice Denis, who was studying for the philosophy paper of the baccalauréat in literature." Philosophy—or, to be more precise, theosophy and theology—aroused the Nabis' interest: they attended lectures by R.P. Janvier on St. Thomas; indeed, several Nabis' tastes for religious speculation confirmed their ardent spirituality. They also followed current musical trends and knew Claude Debussy (1862–1918), the writer of Pelléas et Mélisande, La Mer, and Le Martyre de Saint Sébastien, the composer whose recitative, subtle genius, and harmonic innovations (such as his Préludes for the piano) renewed the language of music. Ernest Chausson (1855–1899), a disciple of César Franck and the composer of La Légende de Sainte Cécile, Le Roi Arthur, and L'Hymne védique, was a close friend of Denis. "Less nihilistic than the painters, but equally concerned with greater individual freedom and greater expression, musicians were undergoing the simultaneous influences of the pure music revealed to them by César Franck, Bach, and the 16th-century contrapuntalists" (Maurice Denis, Theories). Elsewhere, in Jean Cassou's preface to the catalogue for the exhibition entitled "Bonnard, Vuillard et les Nabis" (Paris, Musée d'art moderne, 1955), we read: "Revolution in painting is partly a spiritual revolution, and the radicals who practiced this new manner of painting naturally identified their work with a spiritual exercise; for that reason, they desired a unity among themselves similar to that of a religious community." Sérusier dreamed of a future elect brotherhood composed solely of dedicated artists enamored of goodness and beauty, who imbued their work with that indefinable character he regarded as Nabist. The Nabis were serious in their desire for a spiritual fraternity drawn together around the precious jewel of a new idea. Their rather bantering acceptance of contemporary reality—its crazes, the gamut of culture from Paris street to cozy bourgeoisie—ran side by side with a desire for purity, most evident in their technique of elucidation and simplification and in their break with Impressionism. The movement and its outstandingly powerful personalities—Maurice Denis, Vuillard, Bonnard, and Maillol—created a very rich and subtle chapter in the history of French art.





HISTORY	“Nabi” is a Hebrew word meaning “prophet.” The Nabis used the term, suggested to them by the poet J. Lahor, to identify themselves, for most of them boasted the prophetic attribute of a beard—short and fringed in Bonnard’s case, while Denis had a fair one, Vuillard a generous growth, and Sérusier a blazing red one. The term also flattered their esoteric outlook, both literarily (Symbolism) and mystico-religiously (the Rosicrucians), which was typical of the generation that fought naturalism by concentrating on exceptions to the rule and affecting to divide society into “artists” and “bourgeois.” At any rate, the Nabis intended to sound the knell of official art and begin a new epoch, but not by resorting to destructive methods; on the contrary, their epoch-making methods were to be muted, subtle, insidious, tender, subversive, and mischievous. As a group, the Nabis were neither prophets of woe nor unapproachable pariahs. Their paths parted later, but they left their friendships and companionships intact. They accepted life, and society came to accept them. With the exception of Vallotton, perhaps, these bold innovations enjoyed happy artistic careers. The Nabis’ nucleus was formed at the Académie Julian, which provided spots for those pupils whom the École des Beaux-Arts could not accommodate. Bonnard, Denis, Ranson, Ibels, and Sérusier studied at the former. Sérusier set up his easel at Pont-Aven one autumn day in 1888, and it was there, in the Bois d’Amour, that he met Gauguin, who delivered a brief but shattering lecture: “That tree there is green, isn’t it? Well then, use the loveliest green on your palette. And that shadow, almost blue? Paint it as blue as possible.” This prompted Sérusier to paint on the lid of a cigar box a “crude landscape, synthetically composed of violet, vermilion, Veronese green, and other pure colors squeezed straight from the tube without being mixed with white.” According to Denis, this was the famous “talisman” that revealed to these serious and cultivated young painters the artistic principles that became paramount. The marvelous aesthetic creed that Sérusier elaborated while working for a time at Le Pouldu with Gauguin quickly attracted several deserters from the École des Beaux-Arts: Roussel, Vuillard, and Piot. The last recruits were Maillol, then a painter, Felix Vallotton, and the Dutch painter Verkade. Such was the total manpower of the Nabist movement. At that time, it seemed that official art annulled the bond between style and ideal, for true style is inextricable from an artist’s personal vision and is diametrically opposed to all stereotyping. Conventional painting had become trapped in the status of consumer goods for a society whose demands reflected its own mediocrity and moral strictures (edifying scenes), licentious anecdotes (both historical and ribald), and covetousness. Denis postulated that a picture, taken at face value and seen in terms of its own particular properties, can express an artist’s sensibility as perfectly as music or poetry. This standpoint was important to Denis, so he formulated what he called the theory of equivalents: “In place of the idea of ‘nature as seen through the individual temperament,’ we have substituted the theory of equivalents and symbols. We contend that in an artist’s imagination, the emotions or states of mind aroused by any spectacle become signs or plastic equivalents capable of reproducing those emotions or states of mind, and that it is not necessary to supply a copy of the original spectacle; also that there should be an objective harmony corresponding to every state of sensibility and capable of expressing it.” In adopting the theory of equivalents, in which “Symbol” was obviously a keyword, the Nabis paid tribute to contemporary literary and intellectual theories. Their various friendships testify to the fact that they were a highly cultured group possessed of vast curiosity. In 1891, Bonnard, Denis, and Vuillard shared a studio with Lugné-Poe at 28 rue Pigalle. Denis worked on Remy de Gourmont’s Theodate, and especially Vuillard, took great interest in the problem of theatrical décor. The Théâtre des Arts, founded by Paul Fort with their collaboration, Antoine’s Théâtre Libre, and Lugné-Poe’s Maison de l’Oeuvre (of which Vuillard was a director) all consulted Denis and Vuillard. From 1890 onwards, the whole group frequently met at the offices of the Mercure de France and the Revue Blanche (under the management of the Natanson brothers), where Vuillard later exhibited his work. Apart from the obvious influence their artistic environment had upon them, the Nabis were most influenced by several great contemporary painters, by Gauguin in particular, specifically the Gauguin of Pont-Aven and the Yellow Christ, which had aroused such admiration at the Café Volpini exhibition in 1889. It was to Gauguin that they owed their first impetus and the fundamental tenets of their aesthetic doctrine. Yet Nabist painting must not be confused with Gauguin’s; their refined manner, though parallel to primitivism in a speculative and indirect way, never shared Gauguin’s robust monumentality. An almost equally persuasive lesson that aroused their interest was Japanese art. In April 1890, an exhibition of Japanese art opened at the École des Beaux-Arts, which the Nabis visited eagerly. Two other contemporary masters also attracted them: Odilon Redon (as a spiritual master) and Cézanne (for the aesthetic lucidity of his works). Despite various individual inclinations discernible right from the start, the main tastes they had in common kept the group together until about 1900; after that, each member followed his own path, which in some cases led far beyond original Nabist conceptions. They exhibited as a group from 1891 to 1896 at the Galerie de Le Barc de Bouteville, Ambroise Vollard, Durand-Ruel, and Bernheim Jeune. Their work was also displayed at the Salon des Independants, at the Salon National des Beaux-Arts, and at Les XX in Brussels.





CHRONOLOGY	1880 Durand-Ruel resumes buying paintings from Sisley andPissarro. Exhibitions: April 5th Impressionists group; May outwards Salon; April LaVie moderne offices, Manet; June LaVie moderne offices, Monet. 1881 Durand-Ruel resumes buying paintings from Renoir and Monet. Exhibitions: April 6th Impressionists group; May outwards Salon (new organised, under the control of the artists); LaVie moderne offices, Sisley; June LaVie moderne offices, Redon. 1882 Exhibitions: march 7th Impressionists group; May outwards Salon, May LaVie moderne offices, Redon. 1883 April Death of Manet. Exhibitions: Durand-Ruel, series of one-man shows: Boudin (Feb.), Monet (March), Renoir (April), C.Pissarro(May); May outwards Salon, Sept. outwards Exposition Nationale. 1884 Exhibitions: Jan. Ecole des Beaux-Arts, Manet (retrospective); 4-5 Feb. Manet studio sale; May outwards Salon; May-July Salon des Artistes Independants; Dec. Societe des Artistes Independants, 1st exh. 1885 Exhibitions: May outwards Salon; May-June G. Petit, 4th Exposition Internationale. 1886 March, VanGogharrives in Paris.Gauguinvisits Brittany for first time. Death of Monticelli. First Neo-Impressionists paintings shown at 8th and last Impressionist exhibition. Exhibitions: May outwards Salon; May-June 8th impressionists group, June-July 5th Exposition Internationale; Aug.-Sept. Independants. 1887 Gauguinlives in Martinique. Exhibitions: Feb.-March Le Tambourin café, Japanese prints, organised be Vincent vanGogh. March-May Independants; May outwards Salon; May-June 6th Exposition Internationale; spring (?) Le Tambourin café, Dec.-Jan. 1888 Revue independante. 1888 VanGoghleaves Paris for Arles.Gauguinjoined be Bernard at Pont-Aven in Brittany. Oct.,Gauguinjoins VanGoghin Arles. 1888-9, by Serusier, Denis, Bonnard, Ranson, joined 1889 by Vuillard and Roussel. Exhibitions: Jan. Boussod&Valadon (Theo van Gogh); Durand-Ruel, exh. Inc. Degas; March-May Independants; April Boussod&Valadon (Theo van Gogh); Sept.-Oct. Revue independante offices Dubois-Pillet. 1889 Exhibitions: May outwards Salon; May outwards Exposition Universelle; June-July G.Petit, Monet-Rodin (retrospective), Sept.-Oct. Independants; 1890 Death of Vincent vanGogh, Exhibitions: March-May Independants; May outwards Salon des Artistes Francais; May outwards 1st exh. of the Societe Nationale des Beaux-Arts (founded as alternative to the Salon des Artistes Francais, with Meissonier as President, Puvis de Chavannes as Vice-President; often known as the Salon du Champ de Mars). 1891 Deaths of Theo vanGoghandSeurat.Gauguinleaves for Tahiti. Exhibitions: March-April Independants; May outwards Salon des Artistes Francais; May outwards Societe Nationale; Dec. Le Barc de Boutteville, 1st Exposition des Peintres Impressionnistes et Symbolistes. 1892 Exhibitions: Feb. Durand-Ruel, C.Pissarro, Monet; March-April Independants; May Le Barc de Boutteville, 2nd Exposition des Peintres Impressionnistes et Symbolistes; May outwards Salon des Artistes Francais; May outwards Societe Nationale; Nov. Le Barc de Boutteville, 3rd Exposition des Peintres Impressionnistes et Symbolistes; 1893 Death of Pere Tanguy. Vollard opens gallery in rue LaffitteGauguinis back from Tahiti. Exhibitions: March-April Independants; May outwards Salon des Artistes Francais; May outwards Societe Nationale; May (?)Le Barc de Boutteville, 4th Exposition des Peintres Impressionnistes et Symbolistes; Nov. Durand-Ruel,Gauguin,Cassatt, Dec. Le Barc de Boutteville, 5th Exposition des Peintres Impressionnistes et Symbolistes. 1894 Exhibitions: Jan. –Feb. Durand-Ruel, Guillaumin; March Durand-Ruel,Pissarro; March. Le Barc de Boutteville, 6th Exposition des Peintres Impressionnistes et Symbolistes; March-April Durand-Ruel, Redon, April-May Independants; April outwards Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel,Toulouse-Lautrec, Manet, Caillebotte (retrospective), July Le Barc de Boutteville,7th Exposition des Peintres Impressionnistes et Symbolistes; Nov. Le Barc de Boutteville, 8th Exposition des Peintres Impressionnistes et Symbolistes. 1895 Exhibitions: April-May Independants; April-May Le Barc de Boutteville, 9th Exposition des Peintres Impressionnistes et Symbolistes; April outwards Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel, Monet; Sept. Le Barc de Boutteville, 10th Exposition des Peintres Impressionnistes et Symbolistes; Dec.-Jan. 1896 Bing. Salon de l’Art Nouveau. 1896 Exhibitions: Jan. Durand-Ruel, Bonnard, Guillaumin, Morisot (retrospective); c. March. Le Barc de Boutteville, 11th Exposition des Peintres Impressionnistes et Symbolistes; April-May Independants; April-May Durand-Ruel, C.Pissarro, Renoir; April outwards Societe Nationale; May outwards Salon des Artistes Francais; Summer Le Barc de Boutteville, 12th Exposition des Peintres Impressionnistes et Symbolistes; Sept. Durand-Ruel, Puvis de Chavannes; Nov. Le Barc de Boutteville, 13th Exposition des Peintres Impressionnistes et Symbolistes. 1897 Exhibitions: April-May Independants; April outwards Salon des Artistes Francais; April outwards Societe Nationale; June-July Le Barc de Boutteville, 14th Exposition des Peintres Impressionnistes et Symbolistes; Dec. Le Barc de Boutteville, 15th Exposition des Peintres Impressionnistes et Symbolistes. 1898 Exhibitions: Feb.-March Durand-Ruel, Zandomeneghi; April Durand-Ruel, Guillaumin; April-June Independants; May outwards Salon des Artistes Francais; May outwards Societe Nationale; May Durand-Ruel, Moret; June Durand-Ruel, C.Pissarro. 1899 Exhibitions: April Durand-Ruel, C.Pissarro, Renoir, Sisley; May outwards Salon des Artistes Francais; May outwards Societe Nationale; May-June Durand-Ruel , Jongkind (retrospective); June-July Durand-Ruel, Puvis de Chavannes; Oct.-Nov. Durand-Ruel, Luce; Oct.-Nov. Independants. 1900 Picasso first visits Paris. Exhibitions: April Durand-Ruel , Redon; April outwards Salon des Artistes Francais; April-Oct. Exposition Universelle; Nov.-Dec. Durand-Ruel, Monet; Dec. . Independants. 1901 Death ofToulouse-Lautrec. Exhibitions: Jan. Feb. Durand-Ruel, C.Pissarro; March Societe Nouvelle; April Durand-Ruel, Valtat; April-May Independants; April-June Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel, Moret. 1902 Exhibitions: Match-May Independants; April-June Societe Nationale; May outwards Salon des Artistes Francais; May Durand-Ruel,Toulouse-Lautrec. June Durand-Ruel, Renoir, Roussel. 1903 Death ofGauguinin Marquesas Island and of CamillePissarro. Exhibitions: March Durand-Ruel, Redon; Match-May Independants; April-June Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Dec. Salon d’Automne (1st exh.), Nov. Durand-Ruel, Zandomeneghi. 1904 Bernard visits Cezanne at Aix. Exhibitions: Feb-March Durand-Ruel, Moret, Feb.-March Independants; April Durand-Ruel, C.Pissarro; April-June Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne. 1905 Exhibitions: March-April Independants; April outwards Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne. 1906 Denis and Roussel visit Cezanne at Aix. Death of Cezanne and Carriere. Exhibitions: Feb.-March Durand-Ruel, Redon, Manet, Monet; March-April Independants; April outwards Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne . 1907 Exhibitions: March-April Independants; April Durand-Ruel,, Moret; April-June Societe Nationale; May outwards Salon des Artistes Francais; Oct.-Nov. Salon d’Automne. 1908 Exhibitions: March-May Independants; April-June Societe Nationale; Oct.-Nov. Salon d’Automne.





EXHIBITIONS	1883 Oct., Les XXfounded in Brussels by O. Maus and 20 Belgian artists. 1884 Brussels, Feb.-March 1st Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe; (invitees): Chase, Gervex, Heymans, J.Israela, Maris, Mauve. 1885 Brussels, Feb.-March 2nd Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Toorop, Vogels; (invitees): Cazin, Fantin-Latour, Mellery, Mesdag, Raffaëlli, Uhde. 1886 Brussels, Feb.-March 3rd Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Vogels; (invitees) Besnard, Breither, Degas (but refused to send), Monet, Monticelli, Redon, Renoir, Whistler, Zandomeneghi. 1887 March-May, Idependants, inc.: Angrand, Cross, Dubois-Pillet, Luce, Maurin, L. Pissarro, Redon, Henry Rousseau,Seurat,Signac. Brussels, Feb.-March 4th Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Toorop, Vogels;(invitees) Cazin, C.Pissarro, Raffaëlli, Rodin,Seurat, Sickert. 1888 March-May, Idependants, inc.: Angrand, Anquetin, Cross, Dubois-Pillet, Van Gogh, Luce, Maurin, L. Pissarro, Rousseau, Seurat,Signac. Brussels, Feb.-March 5th Les XX, inc.: (members) Ensor, Finch, Knopff, Rysselberghe, Toorop, Vogels;(invitees) : Anquetin, Blanche, Burne-jones (but refused to send), Degas (but refused to send), Dubois-Pillet, Forain, Guillaumin, Helleu, Mellery,Signac, Whistler. 1889 May onwards Societe Nationale, inc.: Aman-Jean, Beraud, Besnard,Carriere, Cazin, Dagnan-Bouveret, Fantin-Latour, Guillou, La Touche, Maignan, Martin, Maurin, Puvis de Chavannes, Raffaëlli, Roll, Tissot. Sept.-Oct. Idependants, inc.: Anquetin, Dubois-Pillet, Filiger, Van Gogh, Hayet, Luce, O'Conor, L. Pissarro, Rousseau,Seurat,Signac,Toulouse-Lautrec. Brussels, Feb.-March 6th Les XX, inc.: (members) Ensor, Finch, Knopff, Lemmen, Rodin, Rysselberghe, Toorop, Van de Velde; (invitees) : Besnard, Cross,Gauguin, Klinger, Luce, Monet, C.Pissarro,Signac, Steer, W.Stott. 1890 March-April, Idependants, inc.: Angrand, Anquetin, Boch Anna, Cross, Dubois-Pillet, Filiger, Finch, Van Gogh, Guillaumin, Luce, O'Conor, L. Pissarro, Rousseau, Rysselberghe,Seurat,Signac,Toulouse-Lautrec, Van de Velde. Brussels, Feb.-March 7th Les XX, inc.: (members) Ensor, Finch, Knopff, Rodin, Rysselberghe, Toorop, Van de Velde, Vogels; (invitees) : Cezanne, Dubois-Pillet, Van Gogh, Hayet, Mellery, L. Pissarro, Redon, Renoir, Segantini, Signac, Sisley,Toulouse-Lautrec. 1891 May onwards Societe Nationale, inc.: Beraud, Besnard, Blanche, Boldini, Carriere, Cazin, Claus, Cottet, Cross, Dagnan-Bouveret, Harrison, Hodler, La Touche, Liebermann, Puvis de Chavannes, Raffaëlli, Roll, Sargent, Whistler. Dec. Le Barc de Boutteville, 1st. Exposition des Peintres Impressionistes et Symbolistes, inc.: Anquetin, Bernard, Bonnard, Cross, Denis, Filiger,Gauguin, Van Gogh, Luce, Manet, Ranson, Roussel, Serusier,Signac,Toulouse-Lautrec, Vuillard. Brussels, Feb.-March 8th Les XX, inc.: (members) Ensor, Finch, Knopff, Rodin, Rysselberghe, Toorop, Van de Velde; (invitees) :Angrand, Chéret, Grane, Filiger,Gauguin, Van Gogh, Guillaumin, C.Pissarro,Seurat, Steer, Verster. 1892 March-April, Idependants, inc.: Angrand, Anquetin, Bernard, Bonnard, Boch Anna, Cross, Denis, Luce, Moret, O'Conor, L. Pissarro, Ranson, Rousseau, Rysselberghe,Seurat(retrospective),Signac, Toorop,Toulouse-Lautrec. May onwards Societe Nationale, inc.: Aman-Jean, Beraud, Besnard, Blanche, Boldini, Carriere, Cazin, Claus, Conder, Cottet, Cross, Dagnan-Bouveret, Guthrie, Harrison, Helleu, Hodler, La Touche, Lhermitte, Liebermann, Puvis de Chavannes, Raffaëlli, Whistler. May, Le Barc de Boutteville, 2nd. Exposition des Peintres Impressionistes et Symbolistes, inc.: Bernard, Bonnard, Cross, Denis, Luce, C.Pissarro, Serusier,Signac,Toulouse-Lautrec. Nov. Le Barc de Boutteville, 3nd. Exposition des Peintres Impressionistes et Symbolistes, inc.: Cross, Denis,Gauguin, C.Pissarro, Roussel, Serusier,Toulouse-Lautrec. Brussels, Feb.-March 9th Les XX, inc.:(members) Ensor, Finch, Knopff, Rodin, Rysselberghe, Signac, Toorop, Van de Velde, Vogels; (invitees) : Besnard,Cassatt, Denis, Horne, Image, Luce, Mellery, L.Pissarro,Seurat,Toulouse-Lautrec. 1893 March-April, Idependants, inc.: Amiet, Angrand, Anquetin, Bonnard, Cross, Denis, Luce, Moret, O'Conor, L. Pissarro, Ranson, Rousseau, Rysselberghe,Signac, Steinlen,Toulouse-Lautrec, Vallotton, Valtat. May onwards Societe Nationale, inc.: Aman-Jean, Blanche, Carriere, Claus, Conder, Cottet, Cross, Dagnan-Bouveret, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Liebermann, Puvis de Chavannes, Raffaëlli, Roll, Rothenstein, Simon, Tissot. May (?) Le Barc de Boutteville, 4th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Cottet, Denis, Filiger, Guillaumin, C.Pissarro, Roussel, Serusier,Signac, Toorop,Toulouse-Lautrec, Vallotton, Vuillard. Dec. Le Barc de Boutteville, 5th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Chéret, Conder, Cottet, Denis,Gauguin, Guillaumin, Lacombe, Luce, Moret, Ranson, Roussel, Serusier,Toulouse-Lautrec, Vuillard. Brussels, Feb.-March 10th Les XX, inc.: (members) Ensor, Finch, Knopff, Rodin, Rysselberghe,Signac, Toorop, Van de Velde; (invitees) : Bernard, Besnard, Cross, Madox Brown, Steer, Thorn Prikker,Toulouse-Lautrec. 1894 March Le Barc de Boutteville, 6th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Anquetin, Bonnard, Conder, Cottet, Denis, Filiger,Gauguin, Guillaumin, Hayet, Lacombe, O'Conor, Ranson, Seguin, Serusier, Vuillard. April-May, Idependants, inc.: Amiet, Angrand, Cross, Denis, Luce, Moret, L. Pissarro, Rousseau, Signac,Toulouse-Lautrec, Valtat. May onwards Societe Nationale, inc.: Aman-Jean, Beraud, Besnard, Blanche, Carriere, Cazin, Claus, Conder, Cottet, Dagnan-Bouveret, Dauchez, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Liebermann, Puvis de Chavannes,Roll, Sargent, Simon, Tissot, Whistler. July Le Barc de Boutteville, 7th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Chéret, Conder, Denis, Guillaumin, Hayet, Moret, O'Conor,Toulouse-Lautrec. Nov. Le Barc de Boutteville, 8th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Bonnard, Chéret, Cottet, Denis, Filiger, Forbes-Robertson, Guillaumin, Hayet, Lacombe, Maurin, Moret, O'Conor, Seguin, Serusier,Toulouse-Lautrec. 1895 April-May, Idependants, inc.: Angrand, Cross, Forbes-Robertson, Lacombe, Luce, Moret, Rousseau, Rysselberghe, Serusier,Signac,Toulouse-Lautrec. April-May, Le Barc de Boutteville, 9th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Anquetin, Denis, Forbes-Robertson, Hayet, Moret, Ranson, Serusier. April onwards Societe Nationale, inc.: Aman-Jean, Besnard, Blanche, Carriere, Cazin, Claus, Cottet, Dauchez, Denis, Evenepoel, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Liebermann, Puvis de Chavannes,Roll, Simon, W. Stott. Sept. Le Barc de Boutteville, 10th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Angrand, Anquetin, Forbes-Robertson, Hayet, Maillol, O'Conor, Seguin. 1896 March, Le Barc de Boutteville, 11th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Denis, Lacombe, Maillol, Serusier. April-May, Idependants, inc.: Cross, Luce, Munch, Rousseau,Signac, Valtat. April onwards Societe Nationale, inc.: Aman-Jean, Beraud, Blanche, Boldini, Cazin, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Evenepoel, Guthrie, Harrison, La Touche, Lavery, Le Sidaner, Liebermann, Matisse, Puvis de Chavannes, Raffaëlli, Roll, Sargent, Simon, W. Stott. Summer, Le Barc de Boutteville, 12th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Denis, Guillaumin, Roussel. Nov. Le Barc de Boutteville, 13th. Exposition des Peintres Impressionistes et Symbolistes, inc.: Roussel. 1897 April-May, Idependants, inc.: Cross, Luce, Munch, Rousseau,Signac,Toulouse-Lautrec, Valtat. April onwards Societe Nationale, inc.: Aman-Jean, Besnard, Blanche, Boldini, Carriere, Cazin, Claus, Cottet, Dagnan-Bouveret, Denis, Evenepoel, Guthrie, Harrison, Helleu, Hodler, La Touche, Lavery, Le Sidaner, Matisse, Raffaëlli, Roll, Simon, W. Stott, Whistler. June-July, Le Barc de Boutteville, 14th. Exposition des Peintres Impressionistes et Symbolistes. Dec. Le Barc de Boutteville, 15th. Exposition des Peintres Impressionistes et Symbolistes,inc.:Toulouse-Lautrec. 1898 April-June, Idependants, inc.: Cross, Luce, Rousseau,Signac. May onwards Societe Nationale, inc.: Aman-Jean, Anquetin, Besnard, Blanche, Carriere, Cazin, Claus, Conder, Cottet, Dagnan-Bouveret, Dauchez, Denis, Evenepoel, La Touche, Le Sidaner, Levy-Dhurmer, Puvis de Chavannes, Raffaëlli, Sargent, Simon. 1899 May onwards Societe Nationale, inc.: Beraud, Besnard, Blanche, Carriere, Cazin, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Evenepoel, Guthrie, La Touche, Le Sidaner, Matisse, Puvis de Chavannes, Raffaëlli, Roll, Simon, W. Stott. Oct.-Nov. Idependants, inc.: Cezanne, Cross, Luce,Signac. 1900 April-Oct. Exposition Universelle. Exposition centennale de i'art francais, 1800-1889,inc.: Bastien-Lepage, Beraud, Besnard, Boudin, Carriere, Cazin, Cezanne, Degas, Fantin-Latour,Gauguin, Guillaumin, Maignan, Manet, Maurin, Monet, Monticelli, Moreau, Morisot, C.Pissarro, Puvis de Chavannes, Raffaëlli, Renoir, Roll,Seurat, Sisley, Vallotton, Exposition decennale des Beaux-Arts, 1889-1900, inc.: Adler, Aman-Jean, Beraud, Besnard, Blanche, Carriere, Cazin, chabes, Cheret, Cottet, Dagnan-Bouveret, Dauchez, Guillou, La Touche, Le Sidaner, Levy-Dhurmer, Maignan, Martin, Raffaëlli, Roll, Simon.German sectioninc.: Klackreuth, Liebermann, Slevogt, Von Stuck.Austrian sectioninc.: Klimt, Kupka.Belgian sectioninc.: Claus, Ensor, Evenepoel, Khnopff, Vogels.Dutch sectioninc.:Toorop.American sectioninc.: Harrison, Sargent, Whistler. British sectioninc.: Clausen, Stanhope, La Thangue, Lavery, Melville, Osborne, Rothenstein,E. Stott.Italian sectioninc.: Boldini, Morbelli, Pellizza, Segantini.Swiss sectioninc.: Amiet, Hodler. Dec. Idependants, inc.: Luce, Puy, Schuffenecker,Signac. 1901 April-May, Idependants,inc.: Angrand, Boch Anna, Bonnard, Cezanne, Cross, Denis, Ensor, Lacombe, Luce, Matisse, Ranson, Rousseau, Roussel, Rysselberghe, Schuffenecker, Serusier, Sigmac, Vallotton, Valtat, Vuillard. April-June Societe Nationale,inc.: Aman-Jean, Anquetin, Beraud, Bernard, Blanche, Carriere, Cazin, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, La Touche, Lavery, Le Sidaner, Raffaëlli, Simon 1902 March-May, Idependants, inc.: Bernard, Bonnard, Cezanne, Cross, Denis, Luce, Marquet, Matisse, Rousseau, Roussel, Rysselberghe,Signac,Toulouse-Lautrec(retrospective), Vallotton, Valtat, Vuillard. April-June Societe Nationale, inc.: Aman-Jean, Anquetin, Bernard, Besnard, Blanche, Carriere, Claus, Cottet, Dagnan-Bouveret, Dauchez, Harrison, Hodler, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Sargent, Sickert, Simon, Whistler. 1903 March-May, Idependants, inc.: Angrand, Bonnard, Camoin, Cross, Denis, Dufy, Forain, Friesz, Luce, Marquet, Matisse, Munch, O'Conor, Ranson, Rousseau, Roussel, Rysselberghe, Schuffenecker, Sickert,Signac, Vallotton, Vuillard. April-June, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Bernard, Besnard, Blanche, Boldini, Bonnard, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Le Sidaner, Maillol, Raffaëlli, Roll, Sargent, Sickert, Simon, Vallotton. Oct.-Dec. Salon d'Automne (1st exh.), inc.: Adler, Aman-Jean, Besnard, Blanche, Bonnard, Carriere,Gauguin, Guillaumin, Harrison, Marquet, Matisse, Moret, O'Conor, Rouault, Von Stuck, Vallotton, Vuillard. 1904 Feb.-March, Idependants, inc.: Bonnard, Camoin, Cross, Delaunay, Denis, Van Dongen, Dufy, Friesz, Luce, Marquet, Matisse, Munch, O'Conor, Ranson, Rousseau, Roussel, Rysselberghe, Schuffenecker, Serusier,Signac, Vallotton, Valtat, Vuillard. April-June, Societe Nationale, inc.: Aman-Jean, Bakst, Beraud, Bernard, Besnard, Blanche, Boldini, Carriere, Claus, Conder, Cottet, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Rouault, Sargent, Simon, Whistler. Oct.-Nov. Salon d'Automne,inc.: Adler, Bonnard, Camoin, Carriere, Cezanne, Delaunay, Denis, Guillaumin, Kandinsky, Lavery, Liebermann, Maillol, Marquet, Matisse, Moret, O'Conor, Puvis de Chavannes, Redon, Renoir, Rouault, Roussel,Toulouse-Lautrec, Vallotton, Valtat, Van Dongen, Vuillard, Zandomeneghi. 1905 March-April, Idependants, inc.: Angrand, Bernard, Bonnard, Camoin, Cross, Delaunay, Denis, Derain, Van Dongen, Dufy, Friesz, Van Gogh, Herrmann, Kollwitz, Lacombe, Luce, Marquet, Matisse, Munch, O'Conor, Rouault, Rousseau, Roussel, Rysselberghe, Serusier,Seurat, Sickert,Signac, Vallotton, Valtat, Vlaminck, Vuillard. April, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Besnard, Boldini, Carriere, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Guthrie, Harrison, Henry, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Sargent, Simon. Oct.-Nov. Salon d'Automne, inc.: Bonnard, Camoin, Carriere, Cezanne, Derain, Van Dongen, Duchamp-Villon, Friesz, Guillaumin, Ingres, Jawlensky, Kandinsky, Lavery, Maillol, Manet, Marquet, Matisse, Moret, O'Conor, Picabia, l.Pissarro, Raffaëlli, Redon, Renoir, Rouault, Rousseau, Roussel, Sickert, Vallotton, Valtat, Vlaminck, Vuillard. 1906 March-April, Idependants, inc.: Angrand, Bernard, Bonnard, Braque, Camoin, Cross, Delaunay, Denis, Derain, Van Dongen, Dufy, Friesz, Herrmann, Lacombe, Leger, Luce, Marquet, Matisse, Munch, O'Conor, Ranson, Rouault, Rousseau, Roussel, Rysselberghe, Schuffenecker, Serusier, Vallotton, Valtat, Vlaminck, Vuillard. April onwards, Societe Nationale, inc.: Aman-Jean, Beraud,Bernard, Besnard, Blanche, Boldini, Carriere, Claus, Cottet, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Lavery, Le Sidaner, Roll, Simon. Oct.-Nov. Salon d'Automne, inc.: Bonnard, Brancusi, Camoin, Carriere, Cezanne, Delaunay, Derain, Van Dongen, Dufy, Friesz,Gauguin, Guillaumin, Kandinsky, Kupka, Lavery, Marquet, Matisse, Moret, O'Conor, Redon, Renoir, Rossi, Rouault, Rousseau, Roussel, Sickert, Vallotton, Valtat, Vlaminck, Vuillard; plus exh. of Russian art, organized by Diaghilev. 1907 March-April, Idependants, inc.: Amiet, Angrand, Braque, Camoin, Cross, Delaunay, Derain, Dufy, Gilman, Gore, Herrmann, Kandinsky, Luce, Matisse, O'Conor, Ranson, Rousseau, Roussel, Schuffenecker, Serusier,Signac, Vallotton, Vuillard. April-June, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Besnard, Blanche, Claus, Dagnan-Bouveret, Dauchez, Denis, Harrison, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Simon. Oct.-Nov. Salon d'Automne, inc.: Bakst, Bonnard, Braque, Camoin, Cezanne, Delaunay, Derain, Dufy, Fergusson, Friesz, Guillaumin, Kandinsky, Kupka, Lavery, Leger, Marquet, Matisse, Moret, Redon, Rouault, Rousseau, Sickert, Vallotton, Valtat, Vlaminck; plus belgian exh. inc.: Claus, ensor, Evenelopoel, Finch, Khnopff, Mellery, Rops, Rysselberghe. 1908 March-April, Idependants, inc.: Amiet, Angrand, Braque, Camoin, Cross, Derain, Finch, Gilman, Gore, Kandinsky, Luce, Munch, O'Conor, Rousseau, Roussel, Schuffenecker, Serusier, Sickert,Signac, Vallotton, Vlaminck. April-June, Societe Nationale, inc.: Aman-Jean, Anquetin, Beraud, Bernard, Blanche, Claus, Cottet, Dauchez, Denis, Fergusson, Harrison, La Touche, Lavery, Le Sidaner, Raffaëlli, Roll, Simon. Oct.-Nov. Salon d'Automne, inc.: Bakst, Bonnard, Camoin, Denis, Derain, Van Dongen, Duchamp, Fergusson, Friesz, El Greco,Kandinsky, Lavery, Leger, Marquet, Matisse, Monticelli, Moret, O'Conor, Ranson, Rouault, Sickert, Vallotton, Valtat, Vuillard, Vlaminck. Later Exhibitions 29 September 2013 - 6 January 2014Peggy Guggenheim Collection,THE AVANT-GARDES OF FIN-DE-SIéCLE PARIS: SIGNAC, BONNARD, REDON, AND THEIR CONTEMPORARIES 16 September 2016 - 8 January 2017Albertina, Vienna,Seurat, Signac, Van Gogh. Ways of Pointilism. 11 August 2017– 11 March 2018Kunstmuseum Bern,VAN GOGH TO C3ò4ZANNE, BONNARD TO MATISSE THE COLLECTION HAHNLOSER





ARTISTS	Bonnard, Pierre Bonnard, a “drop-out” law student, was a typical Parisian who was also very attached to his background, though his affection for it was filtered through a kind of attentive malice. He was more drawn to domestic scenes than quaint interiors and perhaps even more fascinated by street scenes and the vibrancy of Parisian life. Of all the Nabis, Bonnard was reportedly the most influenced by the Japanese style. His palette reflects the Nabist aesthetic, characterized by dark greys and maroons. The majority of Bonnard’s work during his Nabist period consists of sketches, posters, and lithographs with minimal outlines that freely express the artist’s lively vagaries. From 1898 to 1912, Bonnard developed an affinity for Degas and Impressionism, executing a series of nudes, landscapes, and still-life studies. However, he never focused solely on a realistic analysis of life; he seemed to recognize the limitations of that approach. Consequently, from 1912 to 1921, he devoted more serious attention to form, spending more time on drawing, where his supple outlines impart fluidity rather than immobility to the forms. Bonnard was the only Nabi capable of continuous evolution. When he occasionally referred back to his precursors, he was seeking an echo of his own challenges and a stimulus to overcome them. Denis, Maurice In Maurice Denis, the influence of Gauguin was tempered by the decisive impact of Puvis de Chavannes. Although Denis was inspired by Puvis's discreetly assured and decorative style, he rejected his ascetic palette in favor of a more individual color technique characterized by slim, even brushstrokes. This approach created a fresh and delicate atmosphere infused with shades of orange, pink, lilac, and almond green. The resulting effect is somewhat ethereal and, to modern eyes, may seem dated, yet the charm, tenderness, innocence, and earnest enthusiasm of Denis’s style continue to resonate. It was perhaps inevitable that with his particular gifts and logical turn of mind, Denis would devote himself to the renewal of sacred art. In 1919, he co-founded the Ateliers d’Art Sacré with Georges Desvallières, passionately focusing on reviving religious art, which had become extremely decadent in the 19th century. Through this endeavor, Denis sought to infuse new life and vitality into a genre that had long been neglected, reflecting his dedication to both artistic innovation and spiritual expression. Ranson, Paul Paul Ranson, one of the earliest Nabis, unfortunately met an early death. He undeniably shared similar tendencies with Maurice Denis and Sérusier, reflecting a thoughtful temperament and a taste for mystery that likely veered towards fantasy and Symbolism, possibly influenced by Odilon Redon. However, Ranson's minutely realistic technique was never completely free from convention. As a teacher by vocation, he was dedicated to education in the arts. In 1908, he established the Academy that bore his name, further contributing to the artistic community and nurturing the talents of aspiring artists. Through his teaching and artistic pursuits, Ranson played a significant role in the development of the Nabi movement, blending his distinctive style with the broader ideals of his contemporaries. Sérusier, Paul Sérusier acted as an interpreter of Gauguin, making it logical to assume that his work is among the most indebted to the master of Pont-Aven within the Nabi movement. He conscientiously engaged with Cloisonnism, employing smooth layers of paint in his compositions. Like Gauguin, he was captivated by the landscapes of Brittany, which served as a rich source for his favorite themes. Sérusier depicted scenes such as "The Sea at Le Pouldu," folkloric events like "The Pardon," and imaginary scenarios inspired by literary Symbolism. However, Sérusier's temperament was distinctly different from that of Gauguin. Lacking Gauguin's robust presence and powerful synthesis, Sérusier exhibited a certain slackness in his lines and showed little interest in the vigorous effects of foreshortening. As a colorist, he was also less audacious, though he possessed a refined taste and originality. He remained true to his Nabi identity by softening his effects to the point of almost extinguishing them. The fundamental distinction between Sérusier and Gauguin lies in their personal outlook on the world. Both were drawn to the archaic and primitive, yet for Gauguin, archaism was a direct consequence of the landscape he was portraying. His works served as a means to penetrate the profound truths he found in the natural world. In contrast, Sérusier's approach to archaism was more akin to a lingering scent of "once upon a time," one he enjoyed imagining and conveying onto canvas. His paintings evoke a melancholic atmosphere reminiscent of eternally sunken legends, capturing a sense of nostalgia and wistfulness that sets him apart from his more robust contemporary. Vallotton, Felix Fairly late in joining the Nabis, Félix Vallotton dedicated himself to the group's methods from around 1890 until 1900. Similar to his fellow Nabis, Pierre Bonnard and Édouard Vuillard, he explored contemporary life through portraits, genre scenes, and depictions of street and beach life, as well as occasional nudes and landscapes. However, Vallotton's artistic perspective was characterized by a greater solidity and less fluidity compared to that of Bonnard and Vuillard, making his style more akin to that of Paul Gauguin. In his paintings, and even more so in his lithographs and wood engravings, Vallotton exhibited a distinct acid humor and a somewhat ill-natured playfulness, elements that echo some of the themes found in Expressionist art. This unique blend of stylistic influences allowed Vallotton to create works that not only captured the essence of his subjects but also conveyed an emotional and sometimes satirical commentary on contemporary life. His ability to meld realism with a playful yet critical edge adds depth to his contributions to the Nabi movement. Vuillard, Edouard The work of Édouard Vuillard stands as one of the most quintessential and exquisite testaments to Nabism. Until around 1900, Vuillard practiced the guiding principles of the movement with a level of freedom, boldness, and fidelity that surpassed that of his fellow Nabis. Initially, his primary interest lay in theater décor, which eventually transitioned into poster art for the Théâtre de l'Œuvre, advertisement hoardings (notably his series depicting Parisian parks), and subsequently painting. Vuillard found particular inspiration in Japanese art, which resonated with his own artistic sensibilities. He appreciated how Japanese artists often abolished traditional perspective, allowing lines and brushstrokes to suggest space in a more fluid manner. However, his style soon evolved into something less deliberate and more organic. His outlines became looser and less defined, and his brushstrokes grew smudgier; objects and figures began to merge into a decorative totality where fabrics and wallpaper played a significant role, often creating a speckled sense of fantasy. By 1900, Vuillard had achieved his artistic maturity within the context of Nabism. While he maintained a respect for his talent, he adopted a more conservative attitude reminiscent of fellow Nabis Maurice Denis and Paul Sérusier. He engaged with various artistic influences, including Impressionism, traditional Dutch interior painting, and the 17th-century French school. After 1900, he turned his focus to Edgar Degas, which injected a new realism into his intimate portrayals. From 1914 onward, Vuillard became particularly engrossed in portraiture, refining this genre to showcase his acute powers of observation and informative intent. Through his portraits, he continued to explore and express the nuanced intricacies of human relationships and social environments, further solidifying his legacy within the artistic landscape of his time.





GALLERY

	Paul Sérusier,The Talisman, 1888, Musée d'Orsay


	Meyer de Haan,Maternity: Mary Henry Breastfeeding, 1890, Private collecton


	Paul Ranson,Nabis Landscape, 1890, Private collection


	Maurice Denis, Les muses, 1893, Musée d'Orsay


	Félix Vallotton,The Mistress and the Servant, 1896, Private collection


	Pierre Bonnard, The Dining Room in the Country, 1913, Minneapolis Institute of Arts





BIBLIOGRAPHY	Art: Architecture, Painting, Sculpture, Graphics, Techniques, Bath, 2011. Essential History of Art, Bath , 2001.Jalard, Michel-Claude: Post-Impressionism, Paris, 1966. Shone, Richard: The Post-Impressionism, London, 1979.





BOOKS	Section POST-IMPRESSIONISM in LIBRARY





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