Pierre Bonnard works. Pierre Bonnard - a subtle artist and outstanding colorist
Pierre Bonnard is a French artist closely associated with the Nabis group. Bonnard was called the Japanese or “the most Japanese nabid” for his passion for Japanese prints and oriental ornamentation. Subsequently, the artist moved away from the principles of “Nabi”, his palette became more saturated, and color contrasts were replaced by the radiance of light.
Bonnard's main genres were family portraits, nudes, and landscapes. Color, color combinations and contrasts are the main characters of Bonnard's works, no matter what genre they belong to.
Pierre Bonnard was born on October 3, 1867 in Paris. The son of a high-ranking official in the Ministry of War and a noblewoman, he was accustomed to a comfortable life, a happy family atmosphere and a harmonious way of life. Bonnard has several prestigious lyceums behind him, including Louis de Grand. The father hoped to make his son a lawyer. Bonnard did not want to defend the right to become an artist with scandals, and went to the Faculty of Law, but at the same time entered the Julian Art Academy. A company gathered there: Paul Sérusier, Maurice Denis, Edouard Vuillard, Paul Ranson. In their work they were guided by Paul Gauguin. Surezier even went to see him in Brittany and was so impressed by the meeting that upon his return he organized the Nabis group (French Nabis - prophet), which included Pierre Bonnard. The name implies a special mystical experience available to the participants, their initiation into some secret knowledge. The Nabids looked for the absolute, complex symbolism, and the ability to express the inner world through bright colors in painting. Artists of this movement preferred decorative elements and flat stylization.
At the time of the movement, Bonnar worked several hours a week in the state archives. The payment he receives allows him to continue his studies of drawing and painting.
At that time, he wrote to his mother: “In essence, I am satisfied, because I am securing a future for myself and can not interrupt my favorite lessons.” In 1889, Bonnard left the archives to start working in the prosecutor's office, where he went as if he were “going to hard labor.”
Soon his first successes in art came: in March 1891 he exhibited at the Salon of Independents, and 5 years later Durand-Ruel held his first personal exhibition. At the beginning of his creative activity, the artist gained fame through posters, lithographs and illustrations. The very first poster, ordered by France-Champagne and pasted on the walls of Paris in March 1891, enjoyed public recognition. She admires Toulouse-Lautrec and Felix Feneon (the famous art critic), and his father - according to Bonnard's mother - dances with happiness. Bonnard uses this moment to finally break with legal practice and devote himself entirely to the profession of an artist.
Since 1891, he and his friends Villars and Maurice Denis rented a workshop in the vicinity of Pigalle. Depicts numerous scenes from the life of Paris. In 1894, the artist created the famous poster for the magazine “La Revue Blanche”. At the same time, he began a rapid career as an illustrator. His creative activity is very diverse. In addition to lithographs and illustrations, Bonnard also made theatrical scenery, sketches of interior items, and in 1895 even took part in a dining room furniture competition organized by the School of Decorative Arts. But he does not neglect painting, regularly exhibiting with other nabids. In addition, it is exhibited independently of the group. He sends paintings to the Salon of Independents almost every year.
In 1893, Bonnard met 24-year-old Marie Boutsen, a muse who would inspire him to create numerous nudes, including genuine masterpieces. The artist and his model would live together for more than 30 years before they legalized their relationship in 1925.
According to the most conservative estimates, Martha posed for Bonnar about 400 times, and there is not a single picture where her body has “aged.”
The work “Idle Woman” is not only an image of a naked body, but also, as it were, invites the viewer to penetrate the world of the painting. Martha's face is in the shadows, which enriches the picture not only with an erotic component, but also fills it with a taste of mystery. The cat located near the woman’s head is a character that was usually used to emphasize not only the comfort of home, but also associated with intimate scenes.
Bonnard often visited friends abroad: in Switzerland, Venice and Milan, Spain, Holland, Belgium, England. The artist certainly visited great European museums. In 1908 he discovers Algeria and Tunisia. His love of travel arises from unsatisfied curiosity and the need for a constant change of environment. Despite his high origins, Bonnard is content with modest hotel rooms when traveling. To work, he only needs a table, canvas and brushes. He does not need luxury or convenience; he is a man with modest demands.
Bonnard exhibited for the first time at the Berheim-Jaune gallery in December 1906. After that, he will regularly present his work there. That same year, a little earlier, the artist admired a trip to the south of France: to Marseille, Toulon and Bagnoles. In 1909, Bonnard spent his first long time in the south of France in Saint-Tropez - at that time a small Provençal town that had already fascinated the Post-Impressionists and Fauves before him. He would return to Saint-Tropez often, including in 1911 with Paul Signac. The artist will also live in Cannes and Antibes.
He regularly took part in many exhibitions, art dealers vied with each other to get his hands on his paintings, and his fame crossed the borders of France and spread throughout the world.
Invited as a member of the Carnegie Prize jury, the artist in 1926 went to meet with the American public. He visits Pittsburgh, then Chicago, New York and Washington. His first solo exhibition takes place 2 years later in New York at the De Hock and Co. gallery. In 1936, he himself was awarded the 2nd Carnegie Prize.
Bonnard lives alternately in Cannes and Vernon. Despite frequent trips, he remains faithful to Paris: from 1911 until the end of his life he rented a workshop on Turlyak Street. However, the artist every now and then complains about life in a big city: “I don’t spend more than 2 months a year in Paris. I can’t work there: there’s too much noise, too many things distracting my attention.”
Pierre Bonnard (French Pierre Bonnard; October 3, 1867, Paris - January 23, 1947, Le Cannet, Alpes-Maritimes) is a French painter and graphic artist who went down in art history as one of the greatest colorists of the 20th century. In his youth he headed the group of artists “Nabi (group)”.
BIOGRAPHY OF THE ARTIST
In 1888, Bonnard studied at the School of Fine Arts, where the Nabi group (from the Hebrew nebiim (prophets)) was formed, uniting young artists who were looking for new horizons in art. In addition to Bonnard, the group included -, Roussel, and others. Following the example of the first generation of impressionists, the members of the group, admiring the art of Japanese engraving, sought to simplify painting, working with planes of pure color.
In 1891, Bonnard began exhibiting his paintings at the Salon des Indépendants and at the gallery Le Barc de Boutteville. During that period, the artist’s work was extremely diverse. He draws posters and furniture sketches, paints screens and theater scenery, illustrates books and albums, and works on prints and lithographs. Bonnard's first solo exhibition was held by Durand-Ruel in 1896.
In 1905, he went on a trip to Spain, followed by trips to Belgium, Holland, England, Italy, Algeria, Tunisia and southern France. By about 1908, the period of "intimism" was over. The artist again turns more and more to landscape painting, his palette is even more rich and refined.
In 1925, Bonnard purchased a house on the Cote d'Azur, in Cannes.
In the 1930s-1940s, the artist settled in his home in Cannes. He still works a lot and fruitfully, often returning to his favorite topic - “nude”.
The artist died in 1947, in Cannes.
CREATION
Bonnard's early painting reflects the influence of recognized masters of the Impressionists -,. Bonnard's creativity is very diverse: he created sketches of furniture, posters, designs for fabrics, painted screens and theatrical scenery.
Later, Bonnard moves away from sharply defined contours and color contrasts. He comes to painting based on the finest combinations of colors. His paintings are more reminiscent of Persian carpets or Chinese fabrics. The main themes of his works are interiors, landscapes, small street and everyday scenes, for which Bonnard is often classified as a second generation of impressionists, later called “intimists.” Pierre Bonnard criticized the Impressionists for their poor composition and naturalistic color.
Pierre Bonnard is called one of the most subtle masters and greatest colorists of his time.
His admiration for the familiar scenes of everyday life is transferred to the canvas along with joy and noble fantasies. He explored the play of light in home interiors through a rich artistic style.
Among his comrades, Bonnard was called “Nabi the Japanese.” The fact is that Bonnard was greatly influenced by Japanese prints.
Under the influence of the art of Japanese engraving, artists localized color and made their painting more planar. Contemporaries paid tribute to the artist’s talent.
He was also called "the most picturesque painter."
At the end of his life, he again turned to rich color combinations in his paintings.
ARTIST QUOTES
- We call a marriage for love a marriage in which a wealthy man marries a beautiful and rich girl.
- Art can never exist without nature.
- The main theme is the surface, which has its own color, its own laws beyond those objects.
BIBLIOGRAPHY
- Amory, Dita, ed. Pierre Bonnard: The Late Still Lives and Interiors. New Haven: Yale University Press. 2009
- Brodskaya, Natalia. Bonnard. Parkstone International. 2011
- Cowling, Elizabeth; Mundy, Jennifer. On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910-1930. London: Tate Gallery. 1990
- Frèches-Thory, Claire, & Perucchi-Petry, Ursula, ed.: Die Nabis: Propheten der Moderne, Kunsthaus Zürich & Grand Palais, Paris & Prestel, Munich 1993
- Hyman, Timothy. Bonnard. London: Thames & Hudson 1998
- Ives, Colta, et al. Pierre Bonnard, the graphic art. New York: The Metropolitan Museum of Art 1989
- Turner, Elizabeth Hutton. Pierre Bonnard: Early and Late. London: Phillip Wilson 2002
- Whitfield, Sarah; Elderfield, John. Bonnard. New York: Harry N. Abrams, Inc. 1998
Pierre Bonnard
1867-1947
French painter and a graphic artist who went down in art history as one of the greatest colorists of the 20th century. In his youth he headed the group of artists “Nabi”.
Comes from a family of an official, Bonnard first studied jurisprudence at the Sorbonne, and then studied at the Julian Academy in Paris, then at the School of Fine Arts, where in 1888 the Nabi group was formed, which included Ranson, Denis, Sérusier, Vuillard, Roussel, and later joined them Vallotton. Under the influence of Gauguin and the art of Japanese engraving, artists localized color and made their own painting more flat. However, the strongest influence of Japanese engraving is visible in the works of Bonnard, who was even called the “Japanese Nabi.”
Pierre Bonnard was well acquainted with Ambroise Vollard and depicted him in several of his portraits. Bonnard exhibited his works at the Salon of Independents and met Toulouse-Lautrec. In 1905, together with Edouard Vuillard, he went on a trip to Spain, followed by trips to Belgium, Holland, England, Italy, Algeria, Tunisia and southern France. In 1925 Bonnard bought a house on the Cote d'Azur, in Le Cannet.
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French artist Pierre Bonnard (1867-1947)Pierre Bonnard (1867-1947) - French artist, graphic artist, leader of the Nabis group.
Bonnard's early painting reflects the influence of recognized masters, impressionist artists - Gauguin, Cezanne, Manet, Degas.
Later, Bonnard moves away from sharply defined contours and color contrasts. He comes to painting based on the finest combinations of colors. His paintings are more reminiscent of Persian carpets or Chinese fabrics.
The main themes of his works are interiors, landscapes, small street and everyday scenes, for which Bonnard is often classified as a second generation of impressionists, later called “intimists.”
By about 1908, the period of "intimism" was over. The artist again turns more and more to landscape painting, his palette is even more rich and refined.
Artist's Studio and Mimosa, 1939
The beginning of spring. Little fauns
Vernon Terrace, 1920, amended 1939
Fruit basket, approx. 1946
Pierre Bonnard: Côte d'Azur, ca. 1923
Pierre Bonnard: Coffee pot
Pierre Bonnard: Vase with flowers, 1945
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard: Landscape by Le Cannet, 1926
Bonnard, Pierre - Behind the fence
Biography of the artist
Coming from a family of an official, Bonnard first studied law at the Sorbonne, and then studied at the Julian Academy in Paris, then at the Ecole des Beaux-Arts, where in 1888 the Nabis group was formed, which included Ranson, Denis, Sérusier, Vuillard, Roussel , and later Vallotton joined them. Under the influence of Gauguin and the art of Japanese engraving, artists localized color and made their painting more flat. However, the strongest influence of Japanese engraving is visible in the works of Bonnard, who was even called the “Japanese Nabi.”
Bonnard exhibited his works at the Salon of Independents and met the post-impressionist artist Toulouse-Lautrec. In 1905, together with the symbolist artist Edouard Vuillard, he went on a trip to Spain, followed by trips to Belgium, Holland, England, Italy, Algeria, Tunisia and southern France. In 1925, Bonnard purchased a house on the Cote d'Azur, in Le Cannet. The artist survived the German occupation of Paris and in 1946 staged a retrospective exhibition of his works. Bonnard died in Le Cannet on January 27, 1947.
Pierre Bonnard is a painter, engraver and one of the great colorists of French origin. His work has had an invaluable influence and contribution to contemporary fine art and culture in general. Although his activities are no longer chronologically included in the golden age of French painting, he is undoubtedly part of it.
Pierre Bonnard: biography
The future painter and artist was born on October 3, 1867 in Le Cannet, a resort town on the Cote d'Azur in France.
His father was an official, so there was no talk of any art. He wanted his son to receive a law degree, which he studied at the Sorbonne University. But the young man managed to defend his point of view, so Pierre Bonnard entered the private Julian Art Academy.
He continued to receive art education at the Paris School of Fine Arts. It was here that the association of artists “Nabi” was formed, headed by Bonnard. In addition to him, it included Paul Sérusier Ker-Xavier Roussel and Ambroise Vollard, with whom they became strong friends.
Pierre Bonnard even depicted him in several of his paintings. While exhibiting his works at the Salon of Independent Artists in Paris, he met Henri Toulouse-Lautrec.
He traveled a lot, visiting almost all of Europe and North Africa. Since 1925, he finally settled on the Cote d'Azur in his hometown. He bought a cozy house near the sea, where he continued to actively create.
He had to survive the Nazi occupation, after liberation from which he organized a retrospective exhibition of his old works.
Pierre Bonnard: works
Among the most famous works of the painter are: “White Cat” (1894), “Cherry Pie” (1908), “In the Rays of the Sun” (1908) and many others. He has a whole series of paintings depicting cats. They are frequent heroes on his canvases.
However, one of his most famous paintings, of course, is the above-mentioned work “In the Rays of the Sun”. Hood. Pierre Bonnard depicted on this canvas a young naked girl standing in her bedroom near her bed. The warm rays of the morning sun warm her body. The artist often created images of completely naked women or in negligee. He was a great connoisseur of female beauty, so he sought to capture it on his canvases.
Another famous work by Pierre Bonnard is “Morning in Paris,” which depicts a metropolitan street. Fussy people are in a hurry somewhere, the figures of most of them are half-blurred. By this the artist wanted to say that in a big city all people merge and lose their individuality.
His creative collection contains a huge number of works, but within the scope of this article there is no need to consider them all.
Art style
This French artist, who worked at the turn of the 19th and 20th centuries, entered the history of art as one of the most outstanding colorists. He was always an opponent of impressionism, because he believed that compositionally their style was very flawed, and besides, the color scheme was far from reality.
Pierre Bonnard, whose paintings are saturated with various shades, was distinguished by the fact that he always strived for soft, even muted colors. It is generally accepted that he was among the first artists who were able to reveal and understand the inner world of a woman and her intimate side of life.
He loved to paint landscapes of Paris and the Mediterranean coast of France. Towards the end of his creative career, he began to use more saturated colors and create complex compositions.
Personal life of the artist
At the age of 26, Bonnard, as a boy, fell in love with Martha de Meligny, who was selling flowers. His feelings for her were uncontrollable, passionate, but this does not mean that he did not cheat on her.
Martha was his constant model, whom he depicted in almost 4 hundred of his canvases. 32 years after they met, they finally became spouses. It was then that he learned her real name, which he had not previously known. It turned out that the woman's name was Marie Boursin. However, not everything is so smooth and prosperous in this story.
Pierre Bonnard (artist) regularly made fleeting relationships on the side, and in 1918 he had a permanent model who was his mistress. Her name was Rene Monchaty. She was so much in love with Pierre that, having learned about his marriage to Martha, she committed suicide.
Monchati was the model for many of his paintings, in particular for the painting “Nude in a Bath”.
"Nabi"
As mentioned above, Pierre Bonnard was one of the leaders of a group of artists called “Nabi”. At the same time, he always emphasized the fact that he did not belong to any direction or current. He constantly strived to show his individuality and find his own unique style.
Already from the mid-90s. XIX century, he begins to move further and further away from their principles. The tendency towards linearity and ornamentation of nabids no longer interests him. Since then, he has been creating exclusively in “his own” style, without classifying himself as a member of any of the well-known schools of painting.
Trips
Bonnar traveled a lot, visiting different cities and countries. Biographers and contemporaries of the artist note that although he did not have a shortage of money, the painter never sought to waste. He was very restrained in spending and unpretentious in everyday life. The most important thing for him was that there was enough space for an easel, and there were always paints and brushes.
On his travels he is often accompanied by fellow painters. During his life he traveled almost all of Western Europe and North Africa. Among the countries he visited are: Great Britain, Switzerland, the Netherlands, Belgium, as well as Spain and Italy. From African states, he visited Algeria and Tunisia, which at that time were French colonies.
In 1926, Pierre Bonnard became a member of the jury of the major Carnegie art award, which was held in the USA. Exactly ten years later, he himself became the winner of this award.
Contribution to art
Bonnard's works are the beauty and grace of the female body, the softness and delicacy of colors, richness. He received recognition and respect during his lifetime, which not every artist achieved. But P. Bonnard himself was not too worried about the huge fees from the sale of paintings, since he was always cold to money.
His paintings had a huge influence on modern painting and culture in general. He created countless paintings, most of which are rightfully considered the property of France and the whole world.
Today, the world's largest museums and art connoisseurs are proud if they have at least one work by Bonnard in their collection. No wonder he is considered a real genius of painting.
Success and recognition
The artist himself spoke about his financial success like this: “All these zeros irritate me.” And indeed it is. He never showed interest in money, did not pursue it and lived quite modestly, even with a huge amount of money.
His paintings are highly valued. Many of them sell for big money at art auctions. During his lifetime, he already sold his works for good money, which was the ultimate dream for his contemporaries-artists.
Today his work continues to be in great demand. He had followers, and connoisseurs and admirers of his work still praise the artist and his works.
However, success cannot be measured only by the amount of money. The recognition of people, especially colleagues in the painting craft, also plays an important role here. However, he never had any problems with this either. While still young, he had already begun to command respect in the eyes of even older and more experienced painters. Over the years, his authority only grew.
Conclusion
Pierre Bonnard is certainly one of the outstanding and prominent artists of the turn of the 19th and 20th centuries. Each of his works is brilliant in its own way. They convey not only the artist’s worldview, but also his attitude towards a particular action, person or something.
His contribution to painting is enormous; he actually became the last painter of the Golden Age in France. He is a younger contemporary of such great painters as Toulouse-Lautrec, Van Gogh, P. Gauguin, as well as many impressionists and post-impressionists.
He, so to speak, closed this era in the history of French art. After him, art not only in his homeland, but throughout the world began to change dramatically. Many new movements and schools appeared, including Picasso, S. Dali, and later E. Warhol, Pollock, etc. It cannot be said that he had a great influence on the work of each artist individually, but he had a considerable number of followers , and many painters today often turn to his motifs and techniques when creating their works.
