As he moved away from Nabi style, he made a few narrative works, and painted idyllic realist landscapes.
He introduced the Nabis’ argot, gave them all names, and remained true to their style for longer than most.
With his chroma increasing all the time, he took to a series of classical myths, set on French beaches. Later his paintings became more devotional.
One of the co-founders of Les Nabis, many of his paintings are religious in theme. He was also a fan of Cézanne, and painted a major homage to him.
In the 20th century, his style evolved from the Nabi. The sun came out, he used higher chroma, and painted many portraits.
Paintings from his student days through his active membership of the Nabis, including his superb triptych ‘Public Gardens’.
First of a new series looking at his paintings, discovers a startlingly beautiful three-panel screen showing a La Fontaine fable, and his Nabi paintings.
His masterpiece is a prime example of Naturalism, but he was a close friend of Degas and Renoir, and a major patron and collector of Impressionism.
After a visit to Berlin, his colours became more strident, and his brushstrokes looser. He also made many woodcuts, which influenced and informed his paintings.