Bonnard [Englisch] [Taschenbuch]

Watkins (Matisse, Oxford, 1985) argues for a reappraisal of Bonnard, not as the last of the Impressionists but as a formalist and decorative painter in the 20th century. Discussing his affiliation with Vuillard and the other Nabis, the author draws from the artist's work to demonstrate the influences of Gauguin, Japanese prints, and the later Degas. Withdrawing from the Paris of the 1890s into his own rich, personal, painterly iconography, Bonnard succeeded in creating intimate interiors, and his identification with his more analytical contemporary, Matisse, is apparent. Other French artists, such as Braque, whose style can be seen in some of Bonnard's still lifes, is not named, although the Cubists are mentioned as an interest. It does seem a bit stretched when Watkins implies that Bonnard influenced Monet. Overall, however, the book is well researched and contains many illustrations emphasizing Bonnard's deep involvement with color. An interesting contemporary view for art history scholars, this is recommended for academic collections.
Ellen Bates, New York
Copyright 1994 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

The French painter Pierre Bonnard is best known as a painter of intimate, domestic interiors, but he was also a highly accomplished draughtsman, producing a wealth of lithographs and drawings. He began his career as a graphic artist, producing posters and illustrations for "La Revue Blanche" and other magazines. Associated with the Nabis group from 1890, his early work is characterized by a tendency towards broad, flat colours and asymmetrical compositions derived from Paul Gauguin and Japanese prints. From 1900 his palette became richer and his mature work has ensured his reputation as one of the 20th century's great colourists. This book is a reassessment of Bonnard's life and work, arguing that he was not a sentimental survivor of Impressionism, as some have claimed, but a highly demanding and innovative artist who responded to new formal challenges.

The French painter Pierre Bonnard is best known as a painter of intimate, domestic interiors, but he was also a highly accomplished draughtsman, producing a wealth of lithographs and drawings. He began his career as a graphic artist, producing posters and illustrations for "La Revue Blanche" and other magazines. Associated with the Nabis group from 1890, his early work is characterized by a tendency towards broad, flat colours and asymmetrical compositions derived from Paul Gauguin and Japanese prints. From 1900 his palette became richer and his mature work has ensured his reputation as one of the 20th century's great colourists. This book is a reassessment of Bonnard's life and work, arguing that he was not a sentimental survivor of Impressionism, as some have claimed, but a highly demanding and innovative artist who responded to new formal challenges.