Beyond Human Forces (Part 2) - Édouard Vuillard
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A striking lithograph by Édouard Vuillard, created for the Théâtre de l'Œuvre, featuring high-contrast shadows and a mysterious, atmospheric composition.
This lithograph by Édouard Vuillard, titled Beyond Human Forces (Part 2), originates from a series created for the programme of the Théâtre de l'Œuvre. The work reflects the experimental approach of the Nabis group, who sought to move beyond traditional representation in favour of mood and atmospheric suggestion. Vuillard employs a stark, monochromatic palette, using the contrast between deep blacks and the stark white of the paper to construct a scene that feels both dreamlike and unsettling.
The composition is divided by vertical tree trunks that create a sense of enclosure, drawing the viewer into a dense, shadowed environment. To the right, a ghostly, elongated figure stands amidst the foliage, while in the distance, small structures suggest a village or settlement. The technique relies on the expressive potential of lithographic ink, with areas of heavy, opaque blackness juxtaposed against lighter, scratched textures. This creates a sense of depth that is not grounded in realistic perspective, but rather in the emotional weight of the scene.
Vuillard was closely associated with the avant-garde theatre movement in Paris during the 1890s. His contributions to the Théâtre de l'Œuvre were often intended to capture the psychological essence of the plays performed. This specific print demonstrates his ability to manipulate light and shadow to evoke a sense of mystery. The deliberate omission of detail in certain areas forces the viewer to engage with the image through suggestion rather than direct observation. It is a work that prioritises the subjective experience of the viewer, typical of the Symbolist tendencies present within the Nabis circle. The print remains a compelling example of late nineteenth-century graphic art, demonstrating how limited technical means can produce a powerful, evocative visual narrative.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Beyond Human Forces (Part 2) - Édouard Vuillard
Artist Biography
Edouard Vuillard
He joined the Nabis in the early 1890s, a group of young painters who took their name from the Hebrew word for prophets. The others (Bonnard, Denis, Serusier) were drawn to mysticism and esoteric philosophy. Vuillard was drawn to the interior. His mother's workroom, with its bolts of fabric, wallpaper patterns, and women in patterned dresses, became his subject. The paintings flatten space: the figure merges with the wallpaper, the dress dissolves into the upholstery, the room becomes a single surface of competing patterns. Critics called the approach Intimism.
He painted almost exclusively domestic scenes: rooms, tables, women sewing, women reading. The scale is modest. The colours are muted. There is no drama, no allegory, no mythology. The work assumes that a woman sitting in a chair in a room with good light is enough to make a painting, which it is.
He never married. He lived with his mother until she died and then lived alone. In the late twentieth century, historians began to reassess his decorative work (screens, murals, theatre sets for Lugne-Poe's Theatre de l'Oeuvre) and recognised that the small domestic paintings were not minor work but a deliberate programme: the interior as a subject equal to landscape or history.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like