Paints using glue as their binder were revived by Pierre Bonnard, the Nabis and Odilon Redon in the late 19th century, with startling results.
Pastel paintings by these three Nabis, who underwent conventional training and explored different media. Later paintings by Roussel are really special.
He falls in love with Cagnes, moving first to a rented flat, then to a house built for him amid ancient olive trees. And he painted furiously.
Two paintings of simple everyday domestic scenes were not as quickly made as might appear. Series of preparatory sketches show more.
Short summary of their history, art, and their role in the evolution of painting in the twentieth century, with copious links to articles here.
High-chroma, constructive strokes, realism typical of the mid-20th century, and ‘corn style’ using coalescent tiles of high-chroma paint – you couldn’t get further from being Nabi.
What became of those who had been Nabis in the early 20th century? These four never completely abandoned their Nabi roots, as seen in their paintings.
After 1895, their styles and themes diverged, with Japonisme popular, and motifs ranging from the streets of Paris to the great waves of the Brittany coast.
Paintings from 1893-95 feature predominantly women, and explore the theme of womanhood. Bonnard, Vuillard, Sérusier and others.
Flattened perspective, muted colours, and decorative patterning: some of the characteristics of the early Nabi years.