About Édouard Vuillard (威雅爾)

http://www.books.com.tw/products/0010274187
世界名畫家全集－威雅爾
作者： 何政廣/主編、陳英德/著
出版社：藝術家
出版日期：2004/11/01
語言：繁體中文
    愛德瓦‧威雅爾是法國那比派代表畫家。那比派描繪現實的方法，不依中心透視法，而是純粹主觀與裝飾性的觀念所帶出的形式。威雅爾捐棄畫面視野的深度與物象的體積感，人物與物件融合在由單純平塗的色彩，所造成的行與面的鋪排中。威雅爾從那比派走到生活美的見證。畫面中對光線的游移描繪非常突出，技法出神入化，刻畫出平靜、平凡的愛情生活光景。因此也被稱為親和主義畫家。

在維基百科中，可以看到威雅爾 (Édouard Vuillard) 是德尼 (Maurice Denis) 及波納爾 (Pierre Bonnard) 以外較為知名的那比派代表畫家：
http://en.wikipedia.org/wiki/Les_Nabis
Les Nabis were a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s. Initially a group of friends interested in contemporary art and literature, most of them studied at the private art school of Rodolphe Julian (Académie Julian) in Paris in the late 1880s.
In 1890, they began to successfully participate in public exhibitions, while most of their artistic output remained in private hands or in the possession of the artists themselves. By 1896, the unity of the group had already begun to break: The Hommage à Cézanne, painted by Maurice Denis in 1900, recollects memories of a time already gone, before even the term Nabis had been revealed to the public. Meanwhile, most members of the group—Maurice Denis, Pierre Bonnard, Édouard Vuillard—could stand, artistically, on their own. Only Paul Sérusier had problems to overcome—though it was his Talisman, painted at the advice of Paul Gauguin, that had revealed to them the way to go.

然而，如同書裡頭所提到威雅爾的藝術地位其實是在 21 世紀初才重新被世人熟知及肯定：
由於威雅爾後期專事繪寫資產階級紛飾的生活，他的作品在二次大戰後受到前衛人士的輕看，認為那是失敗的藝術，沒有太多創新，而且代表法國的墮落。一九六八年的一次威雅爾回顧展，幾乎很少人看，報章也少提及，大家忘了威雅爾的繪畫裡蘊藏了多少豐富的人事景物。廿一世紀初的 2004 年，巴黎大皇宮國家畫廊重新推出盛大回顧展，此展明期間觀眾擁擠，大排長龍，大型的目錄在閉慕前早已搶購一空。這次展出讓人重新估計威雅爾，有人認為威雅爾的作品可以與塞尚、立體主義、抽象繪畫相比，是這些畫家之外法國十九世紀末廿世紀前期的另一個繪畫的萬花筒。

目前，在巴黎的奧塞美術館 (Musée d'Orsay) 以及美國華盛頓特區的國家藝廊 (National Gallery of Art) 的官網依然可以查詢到當年 (2003~2004) 威雅爾畫展的相關資訊：
http://www.nga.gov/content/ngaweb/exhibitions/2003/vuillard.html
Édouard Vuillard
January 19 – April 20, 2003

Overview: This exhibition presented 233 objects spanning the career of Parisian artist Édouard Vuillard (1868-1940). Included were paintings, folding screens, theater programs, prints, drawings, photographs, and ceramics. A series of decorative panels, The Public Gardens, 1894, were shown together for the first time since 1906. Some of the works in the exhibition had never before been on public display.

http://www.musee-orsay.fr/en/events/exhibitions/in-the-musee-dorsay/exhibitions-in-the-musee-dorsay/article/edouard-vuillard-1868-1940-4205.html?tx_ttnews%5BbackPid%5D=649&cHash=c376bcd5cc
This exhibition is the most important ever devoted to Edouard Vuillard (1868-1940). For the first time the whole extent of the artist's career, spanning from the 1890's to the 1930's, can be analysed in depth. The 280 pieces presented - paintings, graphic works and photographs from public and private collections in many countries as well as from the artist's workshop archives - include both famous pieces and artworks never exhibited before. An important place is given to the artist's decorative painting. From the Nabi Vuillard to the portrait painter of interwar Paris, the purpose of the exhibition is to explore all the aspects of a multi-faceted artist who never ceased to celebrate the union of intelligence and sensuality.

可能的話，我想建議先從〈鵝〉這幅畫作開始欣賞威雅爾的作品，從平面的陰影呈現出立體的感覺；色塊的形狀則是產生坡度的視覺效果，”大色塊”、”平塗處理”這都是相當典型的那比派畫風：

為豪門貴族製作裝飾壁屏，則是威雅爾累積經驗並展現實力的一段過程：
由於私人宅院裝飾壁屏的經驗，證實了威雅爾的能力。一九一二年畫家受邀承擔了巴黎香舍里榭劇院休息大廳的裝飾工程。一九三七年他為巴黎的夏佑宮作名為〈喜劇〉的壁飾；一九三八年又為瑞士日內瓦國際聯盟大廈作〈繆思的平安護者）。

在這邊，我們先欣賞以下這一幅 1911 年創作的凡提米勒方場 (Place Vintimille)：

另外，值得一提的是威雅爾在各個時期多次以自畫像進行創作，這恰巧是我最近反覆思考的命題：我始終認為我們或許可以從一位畫家認識一個畫派，然而，卻不該以一個畫派來限定我們對於一位畫家的認識。
從這些自畫像不同的技法或風格的表現，對於我所提到的這個命題或許會是一個堅強的佐證。

最後，就請大家欣賞以下幾幅威雅爾的自畫像作品吧！
 

1888 年
 

1890 年
 

1903 年
 

1923 年