By Albert Kostenevich
Pierre Bonnard was once the chief of a gaggle of post-impressionist painters who known as themselves the Nabis, from the Hebrew be aware which means 'prophet'. Bonnard, Vuillard, Roussel and Denis, the main distinct of the Nabis, revolutionized the spirit of ornamental options in the course of one of many richest classes within the heritage of French portray. prompted by means of Odilon Redon and Puvis de Chavanne, by way of well known imagery and eastern etchings, this post-impressionist workforce was once especially a detailed circle of associates who shared a similar cultural heritage and pursuits. An expanding individualism of their artwork of. Read more...
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Extra info for Bonnard and the Nabis
Fruit-Picking are technically inferior to the triptych, but they complement it admirably. Though Bonnard had not visited Moscow, he had a good idea of the setting in Morozov’s mansion where the works would be hung. The triptych was to decorate the main staircase, extending its vista, and for that reason had to have additional depth. The two panels ordered later were to hang on the side walls. They are flatter and more restrained in colour, while the decorative treatment of the trees is reminiscent of ancient tapestries.
An Impressionistic flavour is strongly felt in his city scenes Morning in Paris and Evening in Paris, a pair of works painted for Ivan Morozov and seemingly bearing all the marks of a casually observed scene. In fact, of course, this was not the case. Both pictures were painted from memory, as was Bonnard’s usual practice. In these two townscapes Bonnard was particularly attentive to composition and in this respect, as before, he demonstrated a closer affinity to Degas rather than to Monet and Pissarro.
For this reason Bonnard never tired of depicting the same objects, and turned again and again to the same motifs. Of course, this practice never amounted to mere repetition. His way towards revealing the beauty inherent in any object lay primarily through the rich expressive resources of colour, making a metaphorical link with what is precious. Bonnard believed that “a picture is a patchwork of colours which when combined with each other, in the final analysis form an Henri Matisse, The Red Room, 1908.