Fine Art Poster
From $29
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.
Tribune en balkons met publiek in Théâtre Gymnase in Parijs - Édouard Vuillard
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Description
A colour lithograph by Édouard Vuillard depicting the interior of the Théâtre du Gymnase in Paris, rendered with a focus on mood and texture.
This colour lithograph by Édouard Vuillard captures the atmosphere of the Théâtre du Gymnase in Paris. As a member of the Nabis group, Vuillard often turned his attention to domestic interiors and public spaces, employing a flattened perspective and a subjective approach to colour. In this work, the architectural elements of the theatre, such as the balconies and the ornate railings, are rendered with a focus on texture and mood rather than strict realism.
The composition relies on a restricted palette of muted greens, deep purples, and ochre tones. These colours merge to suggest the dim lighting of the auditorium and the presence of the audience, who appear as indistinct forms within the shadows. The artist uses the lithographic medium to create soft, painterly edges, allowing the forms to dissolve into one another. This technique reflects the Nabis interest in decorative surfaces and the expressive potential of colour, moving away from the objective observation favoured by earlier Impressionists.
Vuillard frequently visited Parisian theatres, finding inspiration in the interplay between the stage and the spectators. By focusing on the architecture of the balcony, he invites the viewer to consider the theatre as a social space. The work lacks a central subject, instead offering a glimpse into a specific moment of observation. The print demonstrates the artist's ability to transform a mundane scene into a study of light and shadow, characteristic of his work at the turn of the twentieth century. The inclusion of the theatre's decorative details, such as the gilded curves of the balcony, provides a sense of place while maintaining the abstract quality of the overall image.
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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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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.
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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
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
Tribune en balkons met publiek in Théâtre Gymnase in Parijs - Édouard Vuillard
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Edouard Vuillard
Vuillard's father was a retired naval captain, twenty-seven years older than his mother. When the father died, Edouard was fifteen. His mother, a seamstress who ran a corset and dressmaking business from home, became the centre of his life and stayed there. They shared a series of small Parisian apartments until her death in 1928. He painted her more than five hundred times over four decades.
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.
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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Fine Art Framed
From $89
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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