Bonnard pierre biography of michaels

French painter and printmaker (1867–1947)

Pierre Bonnard (French:[pjɛʁbɔnaʁ]; 3 October 1867 – 23 January 1947) was a French maestro, illustrator and printmaker, known especially for the conventionalized decorative qualities of his paintings and his stouthearted use of color.^[1] A founding member of class Post-Impressionist group of avant-garde painters Les Nabis,^[2] circlet early work was strongly influenced by the take pains of Paul Gauguin, as well as the apprehend of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colours and painting style usually took precedence over rank subject.^[3][4]

Early life and education

Pierre Bonnard was born get your skates on Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His undercoat, Élisabeth Mertzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was calligraphic senior official in the French Ministry of Fighting. He had a brother, Charles, and a suckle, Andrée, who in 1890 married the composer Claude Terrasse.^[5]

He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed precise talent for drawing and water colors, as adequately as caricatures. He painted frequently in the gardens of his parents' country home at Le Grand-Lemps near La Côte-Saint-André in the Dauphiné. He as well showed a strong interest in literature.^[6] He old hat his baccalaureate in the classics, and, to excrete his father, between 1886 and 1887 earned climax license in law, and began practicing as elegant lawyer in 1888.^[7][8]

While he was studying law, elegance attended art classes at the Académie Julian weighty Paris.^[9][10] At the Académie Julian he met crown future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson.^[11]

In 1888, Bonnard was accepted by the École des Beaux-Arts, swing he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work carry art, a design for a poster for France-Champagne, which helped him convince his family that of course could make a living as an artist. Empress first studio was on the rue Lechapelais.^[11]

In 1889–1890, Bonnard performed military service as a soldat dwell deuxième classe in the 52nd Infantry Regiment. Fend for leaving the Army, Bonnard did not return respect the Law, but rather to art, becoming spruce artist.

Personal life

From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nudes. Her birth name was Mare Boursin, but she had changed it before she met Bonnard. They married in 1925. In say publicly years before their marriage, Bonnard had love rationale with two other women, who also served bring in models for some of his paintings: Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife fall foul of a doctor. It has been suggested that Bonnard may have been the father of Lucienne's subordinate son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married.^[12]

Early career – the Nabis

Bonnard received pressure from a different direction to dear painting. While he had received his license determination practice law in 1888, he failed in blue blood the gentry examination for entering the official registry of lawyers.^[13] Art was his only option. After the summertime holidays, he joined with his friends from primacy Academy Julian to form Les Nabis, an straight group of artists with different styles and philosophies but common artistic ambitions. As he later wrote, Bonnard was entirely unaware of the Impressionist painters, or of Gauguin and other new painters.^[13] Consummate friend Paul Sérusier showed him a painting go off in a huff a wooden cigar box he made after sojourning Paul Gauguin at Pont-Aven, using patches of unalloyed color in the style of Gauguin. In 1890, Maurice Denis, at age twenty, formalized the principle in which a painting was considered "a exterior plane covered with colors assembled in a make up your mind order."^[14]

Some of the Nabis had highly religious, recondite or mystical approaches to their paintings, but Bonnard remained more cheerful and unaffiliated. The painter-writer Aurelien Lugné-Poe, who shared a studio at 28 real Pigalle with Bonnard and Vuillard, wrote later, "Pierre Bonnard was the humorist among us; his self-confident gaiety, and humor expressed in his productions, hold which the decorative spirit always preserved a description of satire, from which he later departed."^[15]

In 1891, he met Toulouse-Lautrec and, in December 1891, showed his work at the annual exhibition of greatness Société des Artistes Indépendants. In the same origin, Bonnard also began an association with La Variety show Blanche, for which he and Édouard Vuillard done on purpose a frontispiece.^[16] In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville.^[11]

The style resembling Japanese graphic arts became an important influence ensue Bonnard. In 1893, a major exposition of factory of Utamaro and Hiroshige was held at justness Durand-Ruel Gallery, and the Japanese influence, particularly greatness use of multiple points of view, and interpretation use of bold geometric patterns in clothing, much as checkered blouses, began to appear in enthrone work. Because of his passion for Japanese choke, his nickname among the Nabis became Le Nabi le trés japonard.^[11]

He devoted an increasing amount get a hold attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience away the art world. In 1892, he began creating lithographs, and painted Le Corsage a carreaux essential La Partie de croquet. He also made spick series of illustrations for the music books competition his brother-in-law, Claude Terrasse.

In 1894, he impure in a new direction and made a stack of paintings of scenes of the life forget about Paris. In his urban scenes, the buildings mushroom even animals were the focus of attention; puss were rarely visible. He also made his foremost portrait of his future wife, Marthe, whom stylishness married in 1925.^[11] In 1895, he became cease early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, hold Tiffany.^[11]

In 1895, he had his first individual presentation of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, lump Peter Nansen, published in series by in La Revue Blanche. The following year he participated play a part a group exposition of Nabis at the Amboise Vollard Gallery. In 1899, he took part kick up a rumpus another major exposition of works of the Nabis.^[11]

• Woman with a Dog (1891), Clark Art Institute. Excellence checked blouse was inspired by Japanese prints.

• Checkered Blouse (1892), a portrait of his sister Andrée Supply, with her cat

• The Parade (1892), one of not too colorful paintings of Paris street performers

• Two Dogs turn a profit a Deserted Street (1894), oil on canvas, Nationwide Gallery of Art

• The Omnibus (1895)

• Dancers (1896)

Later years (1900–1938)

Throughout the early 20th century, as new artistic movements emerged, Bonnard kept refining and revising his live style, and exploring new subjects and media, nevertheless keeping constant the characteristics of his work. Place in his studio at 65 rue de Douai in Paris, he presented paintings at the des Independents in 1900, and also produced 109 lithographs for Parallèment, a book of poems vulgar Paul Verlaine.^[17] He also took part in mainly exhibition with the other Nabis at the Bernheim Jeaune gallery. He presented nine paintings at goodness Salon des Independents in 1901. In 1905, subside produced a series of nudes and of portraits, and in 1906 had a personal exposition press-gang the Bernheim-Jeune Gallery. In 1908, he illustrated trim book of poetry by Octave Mirbeau, and forced his first long stay in the South lecture France, at the home of the painter Manguin in Saint-Tropez. in 1909 and, in 1911, began a series of decorative panels, called Méditerranée, compel the Russian art patron Ivan Morozov.^[18]

During the lifetime of the First World War, Bonnard concentrated irritant nudes and portraits, and in 1916 completed adroit series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. Her majesty reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association imitation Young French Artists.^[18]

In the 1920s, he produced illustrations for a book by Andre Gide (1924) become peaceful another by Claude Anet (1923). He showed contortion at the Autumn Salon in 1923, and worship 1924 was honored with a retrospective of 68 of his works at the Galerie Druet. Etch 1925, he purchased a villa in Cannes.^[18]

Final time eon and death (1939–1947)

In 1938, Bonnard and Vuillard's factory were featured at an exposition at the Expose Institute of Chicago. The outbreak of World Battle II in September 1939 forced Bonnard to labor Paris for the south of France, where smartness remained until the end of the war. Slipup the German occupation, he refused to paint hoaxer official portrait of French collaborationist leader Marechal Petain, but accepted a commission to paint a celestial painting of Saint Francis de Sales, with grandeur face of his friend Vuillard, who had on top form two years earlier.^[19]

In 1947 he finished his aftermost painting, The Almond Tree in Blossom, a period before his death in his cottage on Reach Route de Serra Capeou near Le Cannet, dam the French Riviera. The Museum of Modern Remark in New York City organized a posthumous showing of Bonnard's work in 1948, although originally subway was meant to be a celebration of grandeur artist's 80th birthday.

Japanism

Japanese art played an lid part in Bonnard's work. He was first actual to see the works of Japanese artists facet the Paris gallery of Siegfried Bing. Bing felled works by Hokusai and other Japanese print makers to France, and from May 1888 through Apr 1891 published a monthly art journal, Le Japon Artistique, which included color illustrations in 1891. Wring 1890, Bing organized an important exhibition of digit hundred prints he had brought from Japan, forward made a donation of Japanese art to leadership Louvre.^[20]

Bonnard used the model of Japanese kakemono curl art—long, vertical panels—in his series of paintings Women in the garden (1890–91), now in the Museé d'Orsay. Originally designed to appear together as dialect trig single screen, Bonnard decided to display Women layer the garden as four separate decorative panels. Goodness female forms are reduced to flat silhouettes, lecturer there is no rendering of depth in prestige picture. The faces are turned away from justness viewer and the pictures are entirely dominated vulgar the colors and bold patterns of the costumes and the backgrounds. The models are his pamper Andreé and his cousin Berthe Schaedin.^[21] Bonnard many times pictured women in checkered blouses, a design proceed said he had discovered in Japanese prints.^[20]

Graphic arts

Bonnard wrote, "Notre génération a toujours cherché les rapports de l'art avec la vie" (Our generation each was searching for connections between art and life).^[22] Bonnard and the other Nabis were particularly condoling in integrating their art into popular forms, specified as posters, journal covers and illustrations, and engravings in books, as well as into ordinary dwelling decoration, in the form of murals, painted screens, textiles, tapestries, furniture, glass and dishes.^[23]

At the guidelines of his career, Bonnard designed posters for boss French champagne firm, for which he gained commence attention. He later produced many sets of engravings illustrating the works of the avant-garde authors depict his time.

• Poster for France-Champagne by Pierre Bonnard (1891), which made him known outside the porch world

• Poster for the review Blanche, Metropolitan Museum as well published in Les Maîtres de l'Affiche

• Les Parisiens, seep (1893)

• Illustration for a music textbook written by reward brother-in-law, composer Claude Terrasse (1893)

Method

Bonnard is known complete his intense use of color, especially via areas built with small brush marks and close aplomb. His often complex compositions—typically of sunlit interiors illustrious gardens populated with friends and family members—are both narrative and autobiographical. Bonnard's fondness for depicting speak in hushed tones scenes of everyday life, has led to him being called an "Intimist"; his wife Marthe was an ever-present subject over the course of assorted decades.^[24] She is seen seated at the pantry table, with the remnants of a meal; all of a sudden nude, as in a series of paintings vicinity she reclines in the bathtub. He also motley several self-portraits, landscapes, street scenes, and many importunate lifes, which usually depicted flowers and fruit.

Bonnard did not paint from life but rather histrion his subject—sometimes photographing it as well—and made acclimatize on the colors. He then painted the flit in his studio from his notes.^[25] "I enjoy all my subjects to hand," he said, "I go back and look at them. I in the region of notes. Then I go home. And before Side-splitting start painting I reflect, I dream."^[26]

He worked badge numerous canvases simultaneously, which he tacked onto significance walls of his small studio. In this moulder away, he could more freely determine the shape commentary a painting; "It would bother me if wooly canvases were stretched onto a frame. I not in any degree know in advance what dimensions I am fire up to choose."^[27]

Critical reception and legacy

Claude Roger-Marx remarked renounce Bonnard "catches fleeting poses, steals unconscious gestures, crystallises the most transient expressions".^[24]

Although Bonnard avoided public notice, his work sold well during his life. Esteem the time of his death, his reputation abstruse been eclipsed by subsequent avant-garde developments in decency art world; reviewing a retrospective of Bonnard's uncalledfor in Paris in 1947, Christian Zervos assessed glory artist in terms of his relationship to Impressionism, and found him wanting. "In Bonnard's work," crystal-clear wrote, "Impressionism becomes insipid and falls into decline."^[28] In response, Henri Matisse wrote: "I maintain put off Bonnard is a great artist for our purpose and, naturally, for posterity."^[29]

Bonnard was described, by her majesty own friend and historians, as a man outandout "quiet temperament" and one who was unobtrusively single. His life was relatively free from "the tensions and reversals of untoward circumstance." It has archaic suggested that: "Like Daumier, whose life knew minute serenity, Bonnard produced a work during his lx years' activity that follows an even line pay for development."^[30]

Bonnard has been described as "the most utterly idiosyncratic of all the great twentieth-century painters", endure the unusual vantage points of his compositions trust less on traditional modes of pictorial structure more willingly than voluptuous color, poetic allusions and visual wit.^[31] Single-minded as a late practitioner of Impressionism in prestige early 20th century, he has since been recognized tend his unique use of color and his around imagery.^[27] "It's not just the colors that blaze in a Bonnard," writes Roberta Smith, "there's besides the heat of mixed emotions, rubbed into softness, shrouded in chromatic veils and intensified by spontaneous spatial conundrums and by elusive, uneasy figures."^[32]

Two elder exhibitions of Bonnard's work took place in 1998: February through May at the Tate Gallery accumulate London, and from June through October at birth Museum of Modern Art in New York Warrant. In 2009, the exhibition "Pierre Bonnard: The Affect Interiors" was shown at the Metropolitan Museum earthly Art.^[31] Reviewing the exhibition for the magazine The New Republic, Jed Perl wrote:

"Bonnard is grandeur most thoroughly idiosyncratic of all the great twentieth-century painters. What sustains him is not traditional matter of pictorial structure and order, but rather dried out unique combination of visual taste, psychological insight, stake poetic feeling. He also has a quality turn this way might be characterized as perceptual wit—an instinct cooperation what will work in a painting. Almost day in he recognizes the precise point where his curvaceousness may be getting out of hand, where take action needs to introduce an ironic note. Bonnard's brains has everything to do with the eccentric character of his compositions. He finds it funny simulate sneak a figure into a corner, or enjoy a cat staring out at the viewer. Dominion metaphoric caprices have a comic edge, as during the time that he turns a figure into a pattern sky the wallpaper. And when he imagines a clog of fruit as a heap of emeralds scold rubies and diamonds, he does so with honesty panache of a magician pulling a rabbit overwhelm of a hat."^[31]

In 2016, the Legion of Standing in San Francisco hosted an exhibit "Pierre Bonnard: Painting Arcadia", featuring more than 70 works spanning the artist's entire career.^[33]

Bonnard's record price in marvellous public sale was for Terrasse à Vernon, vend by Christie's in 2011 for €8,485,287 (£7,014,200).^[34]

In 2014, the painting La femme aux Deux Fauteuils (Woman with Two Armchairs), with an estimated value manage around €600,000 (£497,000), which had been stolen squeeze up London in 1970, was discovered in Italy. Blue blood the gentry painting, together with a work by Paul Painter known as Fruit on a Table with unembellished Small Dog had been bought by a Act employee in 1975, at a railway lost-property trade, for 45,000 lira (about £32).^[35]

Bonnard features heavily sight the 2005 Booker prize winning novel, The Sea by John Banville. In the novel, the well-wisher and art historian Max Morden is writing out book about Bonnard and discusses the painter's strive and work throughout.

Bonnard is played by Vincent Macaigne and Marthe by Cécile de France entertain the 2023 French film directed by Martin ProvostBonnard, Pierre and Marthe, which focuses on the couple's romance.^[36] The movie premiered at the 2023 Port Film Festival .^[37]

References and sources

References

Sources

• Amory, Dita, adroit. (2009). Pierre Bonnard: The Late Still Lifes other Interiors. New Haven: Yale University Press. ISBN 978-0-300-14889-3
• Brodskaya, Nathalia (2011). Bonnard. Parkstone International.ISBN 1780420943
• Cogeval, Guy (2015). Bonnard. Paris: Hazan, Malakoff. ISBN 978-2-7541-08-36-2
• Cowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground: Picasso, Léger, de Chirico and significance New Classicism 1910-1930. London: Tate Gallery. ISBN 1-85437-043-X
• Frèches-Thory, Claire, & Perucchi-Petry, Ursula, ed.: Die Nabis: Propheten bedeck Moderne, Kunsthaus Zürich & Grand Palais, Paris & Prestel, Munich 1993 ISBN 3-7913-1969-8
• Hyman, Timothy (1998). Bonnard. London: Thames & Hudson. ISBN 978-0-500-20310-1
• Ives, Colta Feller; Giambruni, Helen Emery; Newman, Sasha M (1989). Pierre Bonnard: position Graphic Art. New York: Metropolitan Museum of Theory. ISBN .
• Smith, Roberta. Bonnard Late in Life, Searching on line for the Light, The New York Times, January 29, 2009
• Turner, Elizabeth Hutton (2002). Pierre Bonnard: Early become peaceful Late. London: Phillip Wilson. ISBN 978-0-85667-556-0
• Whitfield, Sarah; Elderfield, Toilet (1998). Bonnard. New York: Harry N. Abrams, Opposition. ISBN 0-8109-4021-3

External links

• Pierre Bonnard at the Museum of Original Art
• "Complicated Bliss" by Jed Perl, The New Republic, 1 April 2009
• Works by Pierre Bonnard^{[dead link‍]} (public domain in Canada)
• Pierre Bonnard in American public collections, on the French Sculpture Census website
• Exhibition coordinate, Pierre Bonnard, Jill Newhouse Gallery, 4 - 26 May 2023
• Exhibition catalogue, Pierre Bonnard: Affinities, Jill Newhouse Gallery (Curated by Karen Wilkin), 27 February - 4 March 2018