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.
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.
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.
His enigmatic paintings of interiors appear cinematic in their composition and lighting, akin to those of cinematographers of the future, not painters of the past.
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’.