Paul Gauguin inspired and launched the Nabis during the late 1880s at Pont-Aven. They first exhibited in 1889, and published their manifesto in 1890, by which time he had moved onto another project.
Many of his last paintings were landscapes, made from earlier sketchbooks and studies, seen through the eye of the print-maker.
From 1907, he painted a series of mythological works, and increasingly turned to landscapes, some of which are most unusual, almost surreal.
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.
Originally a portraitist in academic style, he was a Nabi in the early 1890s before developing his own simple but strange figurative paintings.
How a Polish pianist came to enable so much of the painting, music, and ballet of the first half of the 20th century – with her portraits by Renoir, Toulouse-Lautrec, Bonnard, and others.
The late 19th century took gambling upmarket into glitzy casinos. Seen in paintings by Courbet, Rossetti, Félix Vallotton, and others.
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.
Concluding the analysis of narrative paintings showing Andromeda’s rescue from sacrifice to Cetus, the sea monster.