1864 -1927 · Paris, Pont-Aven and Brittany

Pure colors, synthetic shapes and spirituality of nature make Paul Sérusier the main theorist of the Nabis.

Paul Sérusier was born in Paris in 1864 and died in Morlaix in 1927. A student at the Académie Julian, he stayed in Pont-Aven in 1888 and received a decisive lesson from Paul Gauguin at the Bois d'Amour: painting not the supposed color of things, but the colorful sensation itself. The small panel made that day, soon called The Talisman, reduced the landscape to pure solid colors and simplified shapes. Back in Paris, Sérusier showed it to Bonnard, Denis, Ranson and their comrades; the work became the manifesto of the group of Nabis, whose name means prophets. Back in Paris, Sérusier showed it to Bonnard, Denis, Ranson and their comrades; the work became the manifesto of the group of Nabis, whose name means prophets. Back in Paris, Sérusier showed it to Bonnard, Denis, Ranson and their comrades; the work became the manifesto of the group of Nabis, whose name means prophets. Back in Paris, Sérusier showed it to Bonnard, Denis, Ranson and their comrades; the work became the manifesto of the group of Nabis, whose name means prophets. Back in Paris, Sérusier showed it to Bonnard, Denis, Ranson and their comrades; the work became the manifesto of the group of Nabis, whose name means prophets synthetic landscape. Landscape at Bois d'Amour allows us to follow the transformation of the Breton motif into mental construction. After the dispersion of the group, Sérusier settled mainly in Brittany, taught at the Académie Ranson and deepened a theory of proportion and color nourished by the research of Beuron Abbey. His work ABC of painting, published in 1921, summarizes this desire to give intuition a stable architecture. The "Paul Sérusier" selection, published in 1921, summarizes this desire to give intuition a stable architecture. The "Paul Sérusier" selection notably compares La Lutte bretonne and Les Laveuses à la Laïta. His reading favors light.

Sérusier does not copy the landscape: he seeks the colorful equivalent, then orders this sensation as a sign, a harmony and a thought.