Ernest Biéler

Private collection, Switzerland

Berne, Kunstmuseum/Martigny, Fondation Pierre Gianadda, Ernest Biéler (1863-1948), Geträumte Wirklichkeit/Ernest Biéler (1863-1948), Réalité rêvée, 2011/12, no. 97
Bern, Kunsthalle, Ernest Biéler, 07.05.-12.06.1938, no. 75 (Die Jungvermählte)

Berne, Kunstmuseum/Martigny, Fondation Pierre Gianadda, Ernest Biéler (1863-1948), Geträumte Wirklichkeit/Ernest Biéler (1863-1948), Réalité rêvée, 2011/12, no. 97, p. 213
J.B. Manson, Ernest Biéler peintre suisse, Lausanne, 1936, ill. XLIII
Nicolas Crispini, Les Couleurs du paradis perdu, Genève 2016, p. 98, repr. in colour

Numerous holes are visible in the top and lower left, and along the top right margin. There are paint losses in the middle of the painting. There are scratches in the middle of the painting and on the top right. There is an accretion and some repairs are visible on the bride (on her scarf) Trace of a former frame along the lower margin. Good condition.
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This work will be included in the upcoming catalogue raisonné of Ernest Biéler by Ethel Mathier.

This work was executed in 1924 during a journey to Evolène, another famous village of canton of Valais. The artist had a particular appreciation for this valley as the costumes were more colourful than in Savièse. He describes with great attention the little sphere comprising flowers and pearls which is attached with a small ribbon to the bride's white embroidered cap. As per the tradition she holds a rosemary branch, symbol of marital fidelity.

Ethel Mathier wird diese Arbeit in das Werkverzeichnis Ernest Biéler aufnehmen.

Dieses Bild wurde 1924 während einer Reise in Evolène, einem weiteren kleinen Dorf in Kanton Wallis, gemalt. Biéler mochte insbesondere dieses Tal, da die Trachtengewänder farbiger sind als diejenigen von Savièse. Sehr detailliert stellt er die Blumen und Perlen der Brauthaube sowie die feinen roten Bänder dar. Traditionellerweise hält die Braut einen Rosmarinzweig in ihrer Hand, welcher als Zeichen für die eheliche Treue steht.