Pierre Bonnard And Artworks

Among those painters who incontestably left their mark on twentieth-century art, Bonnard rises to the top again and again. Museums, scholars and viewers regularly return to his oeuvre for reinterpretation, passionate and contradictory, of what it means to be Modern. In having followed a very personal calling--literally and figuratively interior, particularly compared to the work of friends like Matisse--Bonnard created work as innovative as any of his contemporaries'. His recurring themes--the nude (both classical and erotic), the landscape, domestic life, and the self-portrait--evolve with him from the nineteenth century to the twentieth, from Paris to the south of France, alive with constant reinvention. Although for Bonnard the subject was always important, his work navigates a sophisticated dialectic between the givens of perception and memory, between the image before our eyes and all that it suggests. This substantial reference includes work from the Hermitage and the Museum of Modern Art of the City of Paris, which sponsored its publication. Contributors include Yve-Alain Bois, Sarah Whitfield, and Georges Roque. Photographs from Dina Verny and Henri Cartier-Bresson among others document the era and Bonnard's models as he saw them.

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"The vibrant late paintings of Pierre Bonnard (1867-1947) are considered by many to be among his finest achievements. Working in a small converted bedroom of his villa in the south of France, Bonnard suffused his late canvases with radiant Mediterranean light and dazzling color. Although his subjects were close at hand-usually everyday scenes taken from his immediate surroundings, such as the dining room table being set for breakfast, or a jug of flowers perched on the mantelpiece - Bonnard rarely painted from life. Instead, he preferred to make pencil sketches in small diaries and then rely on these, along with his memory, once in the studio." "This volume, which accompanies the first exhibition to focus on the interior and related still-life imagery from the last decades of Bonnard's long career, presents more than seventy-five paintings, drawings, and works on paper, many of them rarely seen in public and in some cases, little known. Although Bonnard's legacy may be removed from the succession of trends that today we consider the foundation of modernism, his contribution to French art in the early decades of the twentieth century is far more profound than history has generally acknowledged. In their insightful essays and catalogue entries the authors bring fresh critical perspectives to the ongoing reappraisal of Bonnard's reputation and to his place within the narrative of twentieth-century art."--Jacket

Born in 1867, French Postimpressionist artist Pierre Bonnard was, with Henri Matisse, one of the greatest colorists of the early 20th century. As a painter, he preferred to work from memory, using drawings as a reference to capture the spirit of a moment and express it through his distinctive handling of color and innovative sense of composition. This accessible and highly illustrated introduction to his life and work, published to accompany a major Tate exhibition, offers readers a special insight into the popular artist and his practice.

Among those painters who incontestably left their mark on twentieth-century art, Bonnard rises to the top again and again. Museums, scholars and viewers regularly return to his oeuvre for reinterpretation, passionate and contradictory, of what it means to be Modern. In having followed a very personal calling--literally and figuratively interior, particularly compared to the work of friends like Matisse--Bonnard created work as innovative as any of his contemporaries'. His recurring themes--the nude (both classical and erotic), the landscape, domestic life, and the self-portrait--evolve with him from the nineteenth century to the twentieth, from Paris to the south of France, alive with constant reinvention. Although for Bonnard the subject was always important, his work navigates a sophisticated dialectic between the givens of perception and memory, between the image before our eyes and all that it suggests. This substantial reference includes work from the Hermitage and the Museum of Modern Art of the City of Paris, which sponsored its publication. Contributors include Yve-Alain Bois, Sarah Whitfield, and Georges Roque. Photographs from Dina Verny and Henri Cartier-Bresson among others document the era and Bonnard's models as he saw them.

Pierre Bonnard was the leader of a group of post-impressionist painters who called themselves the Nabis, from the Hebrew word meaning ‘prophet’. Bonnard, Vuillard, Roussel and Denis, the most distinguished of the Nabis, revolutionized the spirit of decorative techniques during one of the richest periods in the history of French painting. Influenced by Odilon Redon and Puvis de Chavanne, by popular imagery and Japanese etchings, this post-impressionist group was above all a close circle of friends who shared the same cultural background and interests. An increasing individualism in their art often threatened the group’s unity and although tied together by a common philosophy their work clearly diverged. This publication lets us compare and put into perspective the artists within this fascinating group. The works presented in this collection offer a palette of extraordinary poetic expressions: candid in Bonnard, ornamental and mysterious in Vuillard, gently dream-like in Denis, grim and almost bitter in Vallotton, the author shares with us the lives of these artists to the very source of their creative gifts.

Pierre Bonnard was the leader of a group of post-impressionist painters who called themselves the Nabis, from the Hebrew word meaning ‘prophet’. Bonnard, Vuillard, Roussel and Denis, the most distinguished of the Nabis, revolutionized the spirit of decorative techniques during one of the richest periods in the history of French painting. Influenced by Odilon Redon and Puvis de Chavanne, by popular imagery and Japanese etchings, this post-impressionist group was above all a close circle of friends who shared the same cultural background and interests. An increasing individualism in their art often threatened the group’s unity and although tied together by a common philosophy their work clearly diverged. This publication lets us compare and put into perspective the artists within this fascinating group. The works presented in this collection offer a palette of extraordinary poetic expressions: candid in Bonnard, ornamental and mysterious in Vuillard, gently dream-like in Denis, grim and almost bitter in Vallotton, the author shares with us the lives of these artists to the very source of their creative gifts.

Reproductions and text present critical commentary on the artist and his work.