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Talisman, 1888by Paul Serusier
23" x 27" Framed Art Frame
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Head Of A Breton Woman, 1908by Paul Serusier
35" x 28" Framed Art Frame
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Breton Eve, Or Melancholy, 1891by Paul Serusier
23" x 27" Framed Art Frame
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Still Life: The Artist'S Studio, 1891by Paul Serusier
39" x 33" Framed Art Frame
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Cylinder Of Gold, 1910by Paul Serusier
19" x 26" Framed Art Frame
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Landscape, 1912by Paul Serusier
31" x 22" Framed Art Frame
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Landscape, 1912by Paul Serusier
23" x 19" Framed Art Frame
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Harvest, 1920-25by Paul Serusier
23" x 30" Framed Art Frame
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Washerwomen At The Laita River, Near Pouldu, 1892by Paul Serusier
31" x 26" Framed Art Frame
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Bathers With White Veilsby Paul Serusier
23" x 18" Framed Art Frame
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Daughters Of Pelichtim, 1908by Paul Serusier
31" x 21" Framed Art Frame
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Still Life: Apples And Pitcher, 1912by Paul Serusier
23" x 19" Framed Art Frame
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Grammar, Or Study, 1892by Paul Serusier
23" x 19" Framed Art Frame
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Portrait Of Paul Ranson In Nabi Costume, 1890by Paul Serusier
23" x 28" Framed Art Frame
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Three Spinners, 1918by Paul Serusier
29" x 20" Framed Art Frame
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Breton Wrestler, 1891-1892by Paul Serusier
25" x 32" Framed Art Frame
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Paul Sérusier was born in Paris. He was a French abstract artist and painter who was a pioneer of and an inspiration for the avant-garde Nabis movement, Cloisonnism and Synthetism. He studied at the Julian Academy, an alternative to the elite and conservative School of Fine Arts. As the Nabis’ leader he sought to paint what he saw as well as what he felt. Sérusier brought more evocative and conceptual elements into his painting, more so in his use of non-descriptive color and his dissolution of forms. Many of his paintings were meant to seamlessly fit in with their surroundings. This ensured that they were intellectually stimulating as much as they were aesthetically pleasing. He helped to bring in a new era in artistic innovation by advancing toward abstraction. Sérusier pushed painting away from representation and focused on evocation and sensation. Working closely with his friends, Maurice Denis, Paul Gauguin, Édouard Vuillard, and Pierre Bonnard, he employed flattened forms and bold colors to illustrate his thoughts on the canvas. Thought has been dominant to his work and he placed it above everything else. For instance, if he perceived the sky to be yellow, he did not paint it as blue but as yellow the way he perceived it. From 1908 onwards, Sérusier’s influence was broadened when he became an instructor at the Ranson School, founded by Paul Ranson, his fellow Nabi. In this school, students were encouraged to embrace the evocative and expressive potentials of abstraction. Until World War II, The Ranson School was a very popular training institution for modernist painters. Today, framed Paul Sérusier art hang in many institutions around the world.