Au Flanc du Vase, 1921

by Edmond Aman-Jean


Out Of Stock

DIMENSIONS: (unframed) 39.4 x 32.00 ins/ 100.0 x 78.7 cms
SIGNATURE: Signed lower centre

Edmond François Aman-Jean was a leading French painter, pastellist and lithographer of the early 20th Century. His pivotal works are his symbolist portraits, primarily those of young, beautiful, alluring women. Like many French artists of his generation, he was influenced by the new perspectives on Japanese art current in Paris in his day and, more unusually, he was interested in the Pre-Raphaelite artists in England.

Catalogue No: 4981 Categories: ,

In this sensuous painting, Aman-Jean has depicted a naked young woman amongst luscious vegetation holding a vase. Along with Georges Seurat, Aman-Jean had worked as an assistant to the Symbolist and Academic painter Pierre Puvis de Chavannes. In fact, Seurat and Aman-Jean became so close that they shared a Paris studio in 1879. Art historian Robert Herbert called Seurat’s portrait of Aman-Jean, “one of the great portrait drawings of the nineteenth century”. It was the first work Seurat showed, at the Paris Salon in 1883.  Seurat and Puvis de Chavannes’ influences are evident in this work as the artist has not created a portrait of a living woman but rather a symbolist scene: a beautiful woman within a classical setting. The addition of an urn and the abundant vines, grapes and flowers suggest that the nude woman is in fact a pleasure seeking maenad; the female followers of the Greek hedonist god of wine Dionysus and the most important members of his retinue.

In this piece, Aman-Jean worked fast as can be seen by the deep undulant brushstrokes and thick impasto to loosely depict the sitter’s fleshy body and vegetation. He also loved to paint in pastel shades, repeatedly using pinks, reds, and violets, as seen in the vibrant pinks of the flowers and purple of the grapes.


Private Collection, France;
Private Collection, United Kingdom

Buy with confidence: our assurance to you

Professional Associations

We have built up a strong reputation for the quality of the paintings, drawings and sculpture that we curate, exhibit and sell. Our professional associations with bodies such as The British Antique Dealers’ Association (BADA) and the Association of Art & Antique Dealers (LAPADA) are as a result of our reputation for integrity, our wide knowledge of fine arts and the high quality of our stock. Our business standards and expertise are reviewed regularly to adhere vigorously with enforced Codes. Our memberships and commitment to its Code of Conducts, gives our buyers confidence when purchasing a work from us.


Condition reports and certificates of authenticity vary in their nature by artwork, for more information on your pieces of interest, please enquire with the gallery.

Artwork images

We take pride in the attention we give to our images of the artworks for purchase and invest in these to ensure outputs are aligned as closely as possible to the item in reality. We do not apply filters or modify images, we provide high quality images to reflect the high quality of our artworks.

Your purchase process

Payment processing – You can be assured that payments are securely processed through Worldpay’s trusted payment gateway.

The Trinity House promise to you

Shipping and packaging

Shipping and packaging requirements are assessed per piece to ensure the most suitable protection for the artwork. Trinity House will therefore call following purchase to agree the recommendations and costs.

Our After Sales services

We offer the following services which we will be happy to discuss with you following your purchase, alternatively you can enquire for more information.


We offer insurance appraisals to protect your prised artwork and help you find the right cover and policy for you.


We are able to advise on framing and have access to every type and style to suit any artistic period or room setting.


The nature of the materials involved in a painting mean that on occasion some pieces are susceptible to movement and the effects of natural ageing. We are able to provide advice on practical measures to conserve the original condition of a piece and have relationships with restorers and framers to offer you a range of services to meet your needs.


Persin, Patrick-Gilles, Aman-Jean, Peintre de la Femme (Paris: Bibliothèque des Arts, 1993), p.175


Edmond François Aman-Jean (1858 – 1936) was born in 1858 in the Seine-et-Marne region of France. He had his first art lessons with Henri Lehmann at the École Nationale Supérieure des Beaux-Arts, where he shared a workshop with Georges Seurat, the eminent Pointillist painter. He also befriended the Symbolist painters, Alphonse Osbert and Alexandre Séon.


In 1886, he obtained a travelling scholarship and went to Italy, together with Henri-Jean Guillaume Martin and Ernest Laurent; studying the Old Masters. He then went on to work as an assistant to Puvis de Chavannes, helping him to realize several of his murals. In 1892, he painted a portrait of the poet, Paul Verlaine, during his convalescence for syphilis at the Hôpital Broussais in the 14th arrondissement of Paris. Verlaine dedicated a sonnet to him and they remained good friends until Verlaine’s death in 1896.


Aman-Jean was also one of the first to recognize Joséphin Péladan as an important artist and exhibited at one of the first showings held at the Salon de la Rose + Croix. Later, he became an important teacher in his own right; his students included Charles Sydney Hopkinson, Theodor Pallady, and Nicolae Tonitza. In 1923, together with Albert Besnard and Auguste Rodin, he helped create the Salon des Tuileries. Ten years later, he was named a Commander in the Legion of Honour.


In 1892, he married Thadée Jacquet, the daughter of an Imperial Prefect, who was also a painter. They had two children, François, who became a well-known writer, and Céline.


    Your Message

    Go to Top