Fine Art Poster
From $39
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Buckwheat Harvesters at Pont-Aven - Émile Bernard
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A seminal work of Cloisonnism by Émile Bernard, featuring bold outlines and flat, expressive colour to depict Breton harvesters.
Émile Bernard painted Buckwheat Harvesters at Pont-Aven in 1888 during his time in Brittany. This work is a primary example of Cloisonnism, a style defined by bold forms separated by dark contours and flat areas of colour. Bernard, alongside Paul Gauguin, rejected the naturalistic light and perspective of Impressionism in favour of a more symbolic and decorative approach.
The composition organises the figures into a rhythmic, almost patterned arrangement. The harvesters, dressed in traditional Breton attire, are depicted with simplified shapes that merge with the surrounding fields. The use of a non-naturalistic, warm orange-red palette for the ground creates a sense of flattened space, pushing the figures to the surface of the canvas. This technique draws inspiration from Japanese woodblock prints, which were widely circulated in Paris at the time.
Bernard focuses on the repetitive motions of the labourers, turning the act of harvesting into a series of geometric forms. The heavy outlines define the figures against the background, removing the need for traditional modelling or shading. By stripping away the details of the environment, Bernard directs attention to the essential shapes and the decorative potential of the scene. This approach influenced the development of Synthetism, where the artist prioritised the memory and imagination over the direct observation of nature. The work captures the rural life of Brittany through a lens that values structural clarity and expressive colour over photographic accuracy.
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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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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
Complete The Look
Buckwheat Harvesters at Pont-Aven - Émile Bernard
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Emile Bernard
Bernard invented cloisonnism at twenty and spent the rest of his life arguing about it. The technique, which uses bold flat colours separated by dark outlines (like cloisonne enamel), was developed in 1887 during conversations with Louis Anquetin. When Paul Gauguin arrived at Pont-Aven in Brittany the following year, Bernard shared the method with him. Gauguin adopted it, made it famous, and failed to credit Bernard. The quarrel lasted for decades.
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.
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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Fine Art Framed
From $119
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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