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Self Portrait,
ca. 1889
Pierre Bonnard was born in Fontenay-aux-Roses.
He led a happy and careless youth as the son of a prominent
official of the French Ministry of War. At the insistence of
his father, Pierre Bonnard studied law, graduating and practising
as a barrister briefly. However, he had also attended art classes
on the side, and soon decided to become an artist.
In 1891 he met Toulouse-Lautrec and began showing his work at
the Salon des Indépendants. His first show was at the
Galerie Durand-Ruel in 1896.
In his twenties he was a part of Les Nabis, a group of young
artists committed to creating work of symbolic and spiritual
nature. Other Nabis include Édouard Vuillard and Maurice
Denis. He left Paris in 1910 for the south of France.
Bonnard is known for his intense use of color, especially via
areas built with small brushmarks and close values. His often
complex compositions—typically of sunlit interiors of
rooms and gardens populated with friends and family members—are
both narrative and autobiographical. His wife Marthe
was an ever present subject over the course of several decades.
She is seen seated at the kitchen table, with the remnants of
a meal; or nude, as in a series of paintings where she reclines
in the bathtub. He also painted several self-portraits, landscapes,
and many still lifes which usually depict flowers and fruit.
In 1938 there was a major exhibition of his work along with
Vuillard's at the Art Institute of Chicago. He finished his
last painting, The Almond Tree in Flower, a week before
his death in Le Cannet, on the French Riviera, in 1947. The
Museum of Modern Art in New York City organized a posthumous
retrospective of Bonnard's work in 1948, although originally
it was meant to be a celebration of the artists eightieth birthday.
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 Bonnardís models as he saw them.
Bonnard by Nicholas Watkins – Hardcover, 240 pages
(June 1994) Phaidon Press Inc.
Pierre Bonnard: Observing Nature by Gloria Groom, Ursula Perucchi-Petri,
Belinda Thomson, Jorg Zutter, Gloria Lynn Groom, National Gallery
of Australia – Paperback: 184 pages Publisher: National
Gallery of Australia (June 1, 2003)
The French artist Pierre Bonnard (1867-1947) was a successful
painter, draughtsman, photographer, printmaker, illustrator,
and interior designer and his works continue to surprise and
overwhelm new generations of art lovers. This handsome catalogue
brings together more than 110 paintings, drawings, lithographs,
and photographs, concentrating on works from both public and
private collections, and focusing on the evolution of Bonnard's
artistic career in the twentieth century.
It follows the artist's stylistic and iconographic development,
giving a comprehensive view of Bonnard's career from his early
Nabi works of 1890-1900 to his large decorations of 1905-1912
and his various nudes, portraits and landscapes of the 1920s
and 1930s. The book closes with a group of stunning paintings
and works on paper—predominantly still lifes, sublime nudes,
portraits, and Mediterranean landscapes —created in the
late 1930s through World War II.
Pierre Bonnard offers new insights into one of the most complex
yet highly consistent artists of the twentieth century whose work
was and still is influential on modern painters. From a contemporary
perspective, Bonnard appears to many as a profoundly radical artist
whose works have an extraordinary power to fascinate and inspire
the viewer.
Bonnard by Sarah Whitfield, John Elderfield –
Hardcover, 272 pages (April 1998) Harry N Abrams
It seems somehow revolutionary that a turquoise-blue painting
graces the cover of Bonnard, the catalog accompanying a 1998
exhibit at the Museum of Modern Art in New York City. The color
of the endpapers—deep yellow—tells readers that even
the book designers know with which end of the color spectrum
most viewers associate this sensuous painter. The translucent-looking,
sun-struck, golden woman in the bathtub—the artist's wife
and favorite model—is so emblazoned on our memories that
it takes an exhibition like the one documented in this book
to remind viewers of Bonnard's extraordinary range as a colorist.
Pierre
Bonnard: Early and Late
by Elizabeth Hutton Turner – Hardcover: 288 pages Publisher:
Philip Wilson Publishers (May 2, 2003)
This major presentation of the work of Pierre Bonnard follows
a new line of enquiry reconciling what has previously been seen
as two distinct early and creative periods: the Nabis or symbolist
Bonnard and the later so-called Impressionist or colorist Bonnard.
By uniting representative works from all periods of Bonnard’s
life, this book chart’s the artist’s singular pathway
and illustrates his highly independent artistic vision. The
130 works illustrated here, including paintings, drawings, prints,
photographs, and sculpture, show that Bonnard continually experimented
with alternative media and drew from a range of sources, both
Eastern and Western.
The 130 works here illustrated, including paintings, drawings,
prints, photographs and sculpture, show that Bonnard continually
experimented with alternative media and drew from a range of
sources, both Eastern and Western. Above all, the book demonstrates
Bonnard's overriding and lifelong interest in colour. Three
introductory essays explore diverse aspects of Bonnard's work:
his aesthetic innovations in light and colour stemming from
inventions in photography and film; the influence of Japonisme
in his early and late work; and the critical role played by
Bonnard's early formative education in Parisian Lycees.
The resulting volume, which accompanies an exhibition at The Phillips
Collection, Washington, D.C., and the Denver Art Museum, is essential
for all lovers of the work of Pierre Bonnard and of great value
to students and connoisseurs of the history of European modenism.
Accompanying an exhibition at The Art Institute of Chicago and The
Metropolitan Museum of Art, this attractive catalog is the first
study to focus on the decorative painting of French artists Pierre
Bonnard, Edouard Vuillard, Maurice Denis, and Ker Xavier Roussel,
members of the Nabis in the late 19th and early 20th centuries.
Curator Groom chronicles the formal development of each artist's
style as well as the involvement of patrons who commissioned murals
and screens for their homes. In his essay, scholar Nicholas Watkins
demonstrates how the four artists applied the aesthetic principles
of the mural to all types of painting, thus subverting the academic
hierarchy of the fine and decorative arts. Drawing parallels with
William Morris's Arts and Crafts movement and acknowledging the
influences of both Japanese art and the 18th-century French rococo
style, Watkins traces the absorption of these artists' abstracted
decorative style into early 20th-century modernism and post-World
War II avant-garde painting. With beautiful illustrations and a
thoughtful text, this book is recommended for all libraries with
art collections. —Sandra Rothenberg, Framingham State Coll.
Lib., MA Copyright 2001 Reed Business Information, Inc.
Bonnard: Shimmering Color by Antoine Terrasse, Pierre
Bonnard – Paperback, 144 pages (November 1, 2000) Harry N Abrams
With a text by the artist's grandnephew, Bonnard brings a special
intimacy to the exuberant, beautiful domestic interiors, pastoral
landscapes, still lifes, and portraits of the French artist
Pierre Bonnard (1867-1947), whose vibrant, colorful palette
drew streams of art lovers to a recent retrospective exhibition
at the Museum of Modern Art, New York. Interpreting
Bonnard: Color and Lightby Nicholas Watkins – Paperback,
80 pages (June 1998) Stewart Tabori & Chang
Pierre Bonnard was a very private painter who confined his subject
matter to his wife, his homes, the surrounding countryside,
and his self-portraits. This book provides a concise review
of Bonnard's life, key works, and the development of his technique.
50 color illustrations.
Bonnard's greatest works explore his claustrophobic relationship
with his wife; in his seventies he also completed some of the most
poignant self-portraits in Western art. This book shows how his
greatest works sometimes emerged from terrible circumstances. 169
illustrations. 50 in color.
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Pierre
Bonnard: The Work of Art: Suspending Time
Bonnard
Pierre Bonnard: Observing Nature
Bonnard
Bonnard – In Search of Pure Color
Color, NTSC
Pierre
Bonnard: Early and Late
Bonnard: Shimmering Color
Interpreting
Bonnard: Color and Light 
Bonnard (The World of Art)
