Oil painting, Art, Oil on canvas

Mimosas – Pierre Bonnard (1867-1947)

Pierre Bonnard Mimosa -1915

Pierre Bonnard (1867-1947)
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Bonnard is known for his intense use of color, especially via areas built with small brush marks 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, street scenes, and many still lifes, which usually depicted flowers and fruit.
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Pierre Bonnard - still-life-with-lemons
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Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes.[7] “I have all my subjects to hand”, he said, “I go back and look at them. I take notes. Then I go home. And before I start painting I reflect, I dream.”
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Pierre Bonnard Atelier aux mimosas - 1935
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He worked on numerous canvases simultaneously, which he tacked onto the walls of his small studio. In this way he could more freely determine the shape of a painting; “It would bother me if my canvases were stretched onto a frame. I never know in advance what dimensions I am going to choose.”
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Pierre Bonnard 21
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In his 20s Bonnard was a part of Les Nabis, a group of young artists committed to creating work of symbolic and spiritual nature. Other Nabis include Vuillard and Maurice Denis. In addition to his paintings, he also became known for his posters and book illustrations, as well as for his prints and theater set designs.[4] He left Paris in 1910 for the south of France.
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Pierre-Bonnard-Acquavella-Gallery
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Bonnard was described, by his own friend and historians, as a man of “quiet temperament” and one who was unobtrusively independent. His life was relatively free from “the tensions and reversals of untoward circumstance”. It has been suggested that: “Like Daumier, whose life knew little serenity, Bonnard produced a work during his sixty years’ activity that follows an even line of development.
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Pierre Bonnard The Dining Room

 

 

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