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Vuillard also has a gentle sense of humor, as can be seen in his Octagonal Self-Portrait. Vuillard’s After the Meal recalls Bonnard’s The Dining Room in its use of warm, vibrant color and light, though Vuillard’s brushstrokes are far looser and more Impressionistic, and his technique is rougher. In this way he’s much like Bonnard, though Bonnard often used his wife Marthe as a model. Many of his works show women at the breakfast table, or sewing, or sleeping or sitting and contemplating. Vuillard lived most of his life with his mother, and his paintings, whose subject matter is largely domestic, reflect this. The turn of the century found Vuillard continuing to exhibit his works at prestigious galleries like the Salon des Indépendants, where his paintings were on display in 1901, and the Salon d’Automne, which exhibited his work in 1903. He often collaborated on these commissions with other artists like Bonnard, Maurice Denis, and Roussel. They include Geneva’s Palais des Nations and Paris’ Palais de Chaillot. Indeed, Vuillard received commissions like these till shortly before his death. He also worked on the Théâtre des Champs-Élysées. The Natansons also encouraged Vuillard to help decorate the houses of several prominent people, including Mme. The Revue Blanche was also famous for publishing the works of Bonnard, Vuillard’s fellow Nabis, and Toulouse-Lautrec. He met the Natanson brothers, who founded La Revue Blanche, and published some of his graphics in their publication. He also traveled through Brittany and Normandy. He also designed programs and theater sets for the Théâtre de l’Œuvre.īy the end of the decade, Vuillard had traveled around the south of Europe, especially in Italy and Spain.

Vuillard was part of the Nabis by 1890, and exhibited with his fellow artists at the Barc de Boutteville. After this training, Vuillard, after some set-backs, was finally admitted into the Ecole des Beaux-Arts. Later, he moved into the studio of Diogéne Maillart with his friend Ker Xavier Roussel. Vuillard studied at the Lycee Condorcet till 1885.

They were influenced a great deal by the artist Paul Gaugin. Les Nabis emphasized works with vibrant colors and lines and forms that echoed the shapes found in nature. The son of a retired ship’s captain and a dressmaker, he was part of the art movement known as Les Nabis, whose members included painters like Pierre Bonnard.

Édouard Vuillard (1868-1940), was raised in Cuiseaux, France.