Exploring the Nabis Movement through Paul Sérusier's Farmhouse at Le Pouldu

Paul Sérusier, a student at the Académie Julian, was drawn to the picturesque region of Brittany in 1888 where he encountered the uniqueness of rural life, regional costumes, and vibrant religious faith that were deeply influenced by medieval traditions. His painting of Farmhouse at Le Pouldu exemplifies the principles and elements of design that were central to the Nabis Movement, a group of artists who sought to modernize the visual arts of the late 19th century.

The Nabis Movement

The Nabis (derived from the Hebrew term for prophet) were a group of visionary artists who met at the Pension Gloanec in Brittany. Notable members included Paul Gauguin, Emile Bernard, and Maurice Denis. These artists were inspired by the unconventional beauty of rural Breton life and the unaltered regional costumes. They were keen to depart from the constraints of traditional representational art, favoring a more abstract and decorative approach.

Elements and Principles of Art in Farmhouse at Le Pouldu

Sérusier’s painting showcases meticulous simplification and flattening of three-dimensional forms, as seen in the barn and surrounding environment, which were rendered into broad areas of color bounded by clear outlines. This technique, termed synthetic flatness, reduces the complexity of nature into a decorative, almost two-dimensional composition. The Farmhouse at Le Pouldu is a direct account of a typical Breton farmhouse, but its simplification and decorative style resonate with elements of the Nabis' artistic philosophy.

Comparison to Cinematic Panoptic Lenses

The concept of flattening forms and simplifying visual elements in Farmhouse at Le Pouldu parallels the techniques used in panoptic lenses, a type of lens used in cinematography to achieve a specific visual effect. Panoptic lenses manipulate the visual field to emphasize certain elements while suppressing others. This technique can be compared to the aforementioned simplification and decorative quality in Sérusier's artwork, both aimed at creating a visual impact through selective representation.

Art for the Nation: The National Gallery of Art Exhibition

Philip Conisbee, in his text published in the National Gallery of Art exhibition catalogue Art for the Nation, 2000, offers a comprehensive analysis of Sérusier’s work. Conisbee highlights the Nabis' approach to simplifying forms and applying clear outlines to unify the picture surface. This modernist technique rejected the traditional representation of light and shading, opting instead for large, bold areas of color. The painting’s Text by Philip Conisbee is a prime example of Nabis' decorative aesthetics, emphasizing simplicity and abstraction over naturalistic details.

Paul Sérusier’s Farmhouse at Le Pouldu serves as a gateway to understanding the complexities and artistic innovations of the Nabis Movement. Through his simplification of forms and use of color, Sérusier captures the essence of Breton rural life, serving as a reflection of the early 20th-century modernist experiments in art.