Edouard Bisson, The Afterglow, Oil on Board, 1910, Framed

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Edouard bisson.
french ( b.1856 - d.1939 ).
la rémanence (the afterglow).
oil on board.
signed upper left.
image size … Read more Edouard bisson.
french ( b.1856 - d.1939 ).
la rémanence (the afterglow).
oil on board.
signed upper left.
image size 9.8 inches x 7.9 inches ( 25cm x 20cm ).
frame size 13.8 inches x 11.8 inches ( 35cm x 30cm ).

this original painting is by the french artist edouard bisson and dates from around 1910 before the great war.
the painting is presented and supplied in a sympathetic contemporary wooden frame (which is shown in these photographs).
this antique painting is in good condition. It wants for nothing and is supplied ready to hang and display.
the painting is signed upper left.

edouard bisson was a french pre-raphaelite painter. He is best known for his sensitive depiction of the human figure, particularly his stylish and romanticised paintings of women in atmospheric landscapes. He lived and worked at a time of great cultural and artistic effervescence in france, with the emergence of the impressionist movement, art nouveau and symbolism. This was the belle époque period, marked by a sense of optimism and progress before the cataclysm of the first world war. Bisson’s art was firmly rooted in academic training and classical themes and earned him significant popularity and success.

born on april 6, 1856, in paris, france, he went on the study at the ecole des beaux-arts in paris, where he was trained under the supervision of the famed orientalist painter jean-léon gérôme. Gérôme, known for his attention to detail and his technical mastery, had a notable influence on the young bisson, instilling in him skills that would mark his style.

bisson became a member of the salon des artistes français and became known for his regular participation in the exhibitions there. His work was delicate and aesthetically pleasing, often centred on mythological and allegorical themes, totally in line with the dominant tastes of the bourgeoisie of the time.

bisson became best known for his graceful female figures, often represented in light and floating outfits, evoking a sweet and dreamy sensuality embodying beauty and serenity. He typically used of a soft colour palette of pastel tones and delicate shades to create a soothing and romantic atmosphere. His works show a precise execution and respect for classical beauty canons, reflecting his adherence to the principles of gerome’s teaching.

bisson thus enjoyed considerable success and received several distinctions, including honourable mentions by the salon in 1881 and 1889. At the universal exposition in paris, he was awarded the bronze medal, and in 1908 became a knight of the legion of honour, testifying to the official recognition of his talent.

on august 5, 1899 he married the painter fréderique heyne, known as fréderique vallet-bisson, at the town hall of the first arrondissement of paris.

bisson’s works were often represented by engravings and by the press of the time. Some have been produced as prints.

in addition to his allegorical and symbolist works bisson also became a renowned portraitist. This allowed him to diversify his work and reach a varied clientele. He made portraits of many influential people of his time, contributing to both his fame and his financial success. His famous clients included personalities from parisian high society as well as political and cultural figures. Among his best-known portraits are those of sarah bernhardt, icon of the belle époque and countess de r., a french aristocrat.

bisson exhibited regularly, right up to his death in paris in 1939, always developing his personal interpretation of female beauty. At a time when the impressionist movement eventually gained massive recognition, bisson maintained popularity among academic circles and classical art lovers.

nowadays bisson’s works are in various public collections and museums in france and elsewhere in europe, such as the museum of fine art in rouen and the castles of malmaison and bois-préau, which both have portraits by bisson in their permanent collections. In the uk his works are held in the collections of the bury art museum in manchester and the shipley art gallery in newcastle upon tyne.

today, édouard bisson’s work is appreciated for its elegance, technical assurance and timeless appeal. His paintings remain sought after by collectors of french belle époque art and early 20th-century figurative painting, representing a graceful continuation of french academic tradition infused with a modern sensibility.

this evocative original oil on board painting by the french artist édouard bisson (1856–1939) dates from circa 1910 and exemplifies the artist’s sensitive approach to the female figure and portraiture. Executed with confident, fluid brushwork, the composition presents a young woman shown half-length, turning gently toward the viewer, her expression contemplative and quietly intimate.

bisson’s mastery of colour harmony and flesh tones is evident in the warm, luminous modelling of the sitter’s skin, set against a softly worked, neutral background. Subtle variations of pink, ochre and ivory create a glowing surface, while the loose, painterly handling of the hair and background lends the work an immediacy characteristic of early 20th-century french painting. A small red flower in the sitter’s hair provides a striking chromatic accent, enhancing the overall sense of warmth and sensuality.

the painting is signed by the artist in the upper left, confirming its authenticity. Created around 1910, it reflects bisson’s mature period, when his work bridged academic tradition and a freer, more modern painterly sensibility.

this signed original oil painting by édouard bisson is a fine example of french figurative art from the early 20th century and would make a compelling addition to any collection of french portrait painting, belle époque art, or classic figurative works. This piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution See less