By Albert Kostenevitch
Pierre Bonnard used to be the chief of a bunch of post-impressionist painters who referred to as themselves the Nabis, from the Hebrew observe that means 'prophet'. Bonnard, Vuillard, Roussel and Denis, the main exotic of the Nabis, revolutionized the spirit of ornamental options in the course of one of many richest sessions within the heritage of French portray. encouraged by way of Odilon Redon and Puvis de Chavanne, by means of well known imagery and jap etchings, this post-impressionist workforce was once peculiarly an in depth circle of acquaintances who shared an identical cultural history and pursuits. An expanding individualism of their artwork usually threatened the group's harmony and even supposing tied jointly by means of a typical philosophy their paintings basically diverged. This booklet shall we us examine and placed into point of view the artists inside of this attention-grabbing staff. The works provided during this assortment provide a palette of impressive poetic expressions: candid in Bonnard, decorative and mysterious in Vuillard, lightly dream-like in Denis, grim and virtually sour in Vallotton, the writer stocks with us the lives of those artists to the very resource in their inventive presents.
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Additional info for Bonnard and the Nabis (Temporis Collection)
The mirror gave him an opportunity to correlate the details reflected in it (his wife Marthe, the cup in her hand, the model) with the various articles on the washstand. With this diversity of details, colour gains a special significance. Soft, muted tones predominate. On the back of the picture Bonnard wrote: “Do not varnish”. The matt effect is very important in this picture. Without it the expressive range of bluishgrey tones would have lost its wonderful subtlety and richness. It is colour that ennobles articles in Bonnard’s still life.
Qxp 7/25/2005 1:24 PM Page 62 M A S T E R W O R K S Pierre Bonnard, At the Park, 1900. 5 cm, Private Collection. Pierre Bonnard, Woman with Dog, 1891. 4 cm, Sterling and Francine Clark Art Institute, Williamstown, MA, USA. 1899 Oil on panel. 5 x 56 cm Hermitage, St Petersburg The picture belongs to Bonnard’s early period, a fact which is borne out, among other things, by the obviously Japanese treatment of the landscape. While painting it, Bonnard apparently had in mind sheet 18 from Hiroshige’s series of woodcuts 69 Stations of Kisokaido (1837-42) and Hodagaya on Tokaido (1823-29) by Hokusai.
In 1909, 1913 and 1914 Bonnard again returned to the mirror motif. In the Dressing-Table with a Bunch of Red and Yellow Flowers (1913, D 772) the size and the basic features of the composition are the same as in the Mirror in the Dressing-Room, but the colour scheme determined by the inclusion of the flowers is different. The next composition, The Toilette (1914, Art Museum, Worcester, Massachusetts), is no longer a still life but a pure interior with the same dressing-table. However, the window next to it has gone.
Bonnard and the Nabis (Temporis Collection) by Albert Kostenevitch