Folding the Linen - Édouard Vuillard
Archival giclée
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Description
A lithograph by Édouard Vuillard depicting two women engaged in the domestic task of folding linen, rendered with soft, atmospheric tonal qualities.
Folding the Linen is a lithograph by Édouard Vuillard, a member of the Nabis group. The work captures a quiet, domestic scene, a subject that occupied much of the artist's career. Vuillard focuses on the rhythmic, repetitive motion of two women handling a large sheet of fabric. The composition relies on the interplay of light and shadow, with the figures partially obscured by the texture of the linen and the surrounding environment.
Vuillard employs a soft, granular application of lithographic ink to create a sense of atmosphere. The figures are not rendered with sharp outlines; instead, they emerge from the paper through subtle tonal shifts. This technique allows the artist to flatten the pictorial space, drawing attention to the decorative qualities of the scene rather than a strict adherence to perspective. The background features a dense, patterned area that contrasts with the smooth, expansive surface of the linen held by the women.
As a practitioner of the Nabis style, Vuillard prioritised the subjective experience of a space over objective representation. The domestic setting is treated with a sense of intimacy, reflecting the artist's interest in the private lives of his subjects. The muted palette and the focus on everyday labour provide a glimpse into the late nineteenth-century Parisian household. This print demonstrates the artist's ability to transform a mundane task into a study of form and texture. The work remains a characteristic example of his graphic output, where the medium of lithography is used to achieve a painterly effect, blurring the boundaries between the figures and their surroundings. The composition is balanced, with the central action of folding the linen acting as the primary anchor for the viewer's eye.
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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.
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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
Folding the Linen - 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.
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