Les Amours de Pierre Ronsard: Les Amours De Marie - Émile Bernard
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Description
A woodcut illustration by Émile Bernard, depicting figures in a classical style to accompany the poetry of Pierre de Ronsard.
This woodcut by Émile Bernard serves as a graphic interpretation of the poetry of Pierre de Ronsard. Bernard, a figure associated with the Pont-Aven School and the development of Cloisonnism, often looked to historical literary sources to inform his visual practice. The composition features two figures flanking a central text block, a layout reminiscent of early printed book illustrations and woodblock engravings from the Renaissance period.
The figures are rendered with a focus on bold, rhythmic lines that define form without the need for complex shading. Bernard employs a simplified approach to anatomy, prioritising the decorative quality of the silhouette over anatomical precision. The surrounding foliage and the stylised trees above the figures create a frame that integrates the text into the overall design. This synthesis of typography and image reflects the artist's interest in the book as a unified aesthetic object.
Bernard's work during this period often moved away from the radical colour experiments of his youth, favouring a return to more traditional, graphic techniques. The use of a single-colour ink on a neutral ground emphasises the clarity of the line work and the balance between positive and negative space. The subject matter, drawn from Ronsard's sonnet cycle dedicated to Marie Dupin, aligns with the artist's broader engagement with classical themes and French literary history. This print offers a clear example of Bernard's ability to adapt his modernist sensibilities to the requirements of illustrative work, maintaining a distinct stylistic identity while respecting the historical context of the source material.
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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.
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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
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
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- Keep in a dry, room-temperature space
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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
Les Amours de Pierre Ronsard: Les Amours De Marie - Émile Bernard
Artist Biography
Emile Bernard
He was raised by his grandmother, who owned a laundry in Lille, because his younger sister was ill and required his parents' full attention. He entered the Ecole des Beaux-Arts in Paris but was expelled for insubordination. At the Academie Cormon he met Toulouse-Lautrec and Van Gogh; his friendship with Van Gogh produced some of the most important letters in art history.
Bernard and Gauguin fell out definitively in 1891 over the paternity of Symbolism and cloisonnism. Bernard believed he had been written out of the story, which he had. He spent years writing criticism and art history to set the record straight, producing first-hand accounts of the period that remain primary sources.
His later work turned conservative. He travelled to Egypt, studied the Old Masters, and repudiated the avant-garde experiments of his youth. The early paintings, made between 1886 and 1897 when he was barely out of his teens, are the ones that matter. He was brilliant too young and spent the rest of his career looking backwards. His correspondence with Van Gogh, preserved and published, is one of the most direct records of how two young painters in the 1880s thought about colour, composition and what painting was for.
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