Light columnist bourgeois happiness? This is a more complex picture offered by the Musée d’Orsay in a retrospective, until July 19.
Impressionist Post? But again ?? Pierre Bonnard (1867-1947) was three years younger than Toulouse-Lautrec and two years older than Henri Matisse. “It remains uncertain which side he belonged” noted Jean Clair, before making the tilts toward the twentieth century and maintaining the figurative side Giacometti and Lucian Freud. The essayist also saw the colorist Bonnard a precursor of Rothko, Newman and Sam Francis.
The retrospective Orsay museum that preserves most of Bonnard in the world, and brings together a hundred came from world with nearly fifty photographs, qualifies this design. Commissioner Isabelle Cahn, Guy Cogeval the president of the museum and specialist longtime painter, particularly emphasizes the decorative work. This aspect – far more than the inner webs in Le Cannet villa where Bonnard household lived from 1927 – is borrowing Impressionism. Large groups for special hotel lounges are here reconstituted even refer below to Poussin, Watteau or rococo.
There, in these large orders, Bonnard clearly requires neither disorder as the master of joy of living and the criticism had first celebrated. Still, this is not necessarily what pleases today. But under the blazing yellow, purple, blue and green, the secret dramas and deep tears. It is true that, in clinical bathrooms to its relentless self-portraits as Munch or Schiele, successful person like him to cool naturally warm tones. Le Figaro decrypts six themes present in the course of the exhibition.
The first space journey that has nine points out that it is not without reason that Bonnard was nicknamed “the Nabi very japonard”. Among the small group of young artists who had proclaimed nabi (“prophet” in Hebrew), whose model was Gauguin, it is indeed the one that operates the Japanese prints. Since spring 1890, he appreciates their stylization, bright colors and flat areas that define the forms and plans. He also likes the decorative spirit of kakemonos. Bonnard consists screens, before empower panels, which become tables.
Whether or Pigalle in Normandy, not far from Giverny Monet Bonnard looking Virgil. It is not immediately grasp the feeling of interest, but his memory. So do not paint easel in the fields but pinning his canvas against a wall and made calls to his memory, his inner vision. Mundane everyday moments, games, meals, relaxation or rest, transfigured by the Proustian reverie or Gide way and sublimated by pushing palette, and result in what seems concentrates pure happiness. Several large decorative cycles make monumental way picking apples or the joys of summer with a simple and direct way of Elders. Neoclassicism? Puvis’s not far.
In twenty years, from 1927 to his death, Bonnard elegant melancholy, caulking is far from the forefront Paris in his villa in Le Cannet. It more often painted his small rooms but the bubbling Mediterranean nature from the windows. In total, nearly 300 works. The most intensely bright are the 60 executed in the dining room, the parlor 21, 11 of the workshop. And of course the bathrooms, gathered here more than obsession series. This Arcadia there is death. These colors here, those of disenchantment. Poussin painted shepherds already discovering a tomb in paradise.
They seem tipping toward the edge of the composition. Bonnard, colorist more than ever, grabbed the stage overhang. It is mosaic, vibrates the reflections of polished glass tiles or windows where a tiny breeze seems to animate embroidered arabesques sails. But it was above the water shivering. Curiously it appears to have cooled. No fogging indeed. Martha, once languid on crumpled sheets, fleet there, blue and motionless as a corpse. She had a mania for cleanliness. It gradually became crazy. Unbearable if not by the memory of her little slender body ??
Tiny and black and white but have the great merit of securing the time. Whether it is vague and poorly framed unexpected, or installation. From its invention Bonnard played the Kodak portable. For his family albums and friends, to cultivate emotion. But soon for his creative process. He practices in 1890. Another original picture: his diaries unfortunately not in the exhibition. He mentions every day the weather like Goethe, Constable or Boudin ?? It matters most whether the foliage of the laurel will brasiller as the day before or the precise time that the shadows will turn blue. When Martha died on 26 January 1942, he mentions that he’s nice and adds a cross underneath, not even Christian. As redaction of a chore done. Martha, he had loved her. The still loved. But his illness had weighed. And more the way that Martha had fought her rival. Just before his marriage Bonnard had a passionate affair with Renee Monchaty. They left together in Rome. He painted Renée twenty times. The official jealousy had triumphed. A month after their marriage, Renee had given death.
They also purr and play. They often mimic humans. Sometimes sarcastically. They worry about all their expressionist angles. The Chihuahua is recovering, mimicking the proud plump rump of the beautiful Misia. Basset squatte the bath mat. Labrador eyeing cherry pie. At the table with a plate, one also feels the cat competition. It might scratch for a sardine. Presentiment of the conflict is stronger than the conflict itself. That’s what Bonnard said. Pending this supposedly domestic animals in the foreground. Tenderness brood, she reigns indifferent to men and their love lives. “When my fingers caress at leisure / Your head and your elastic back (??) I see my wife in mind. His glance, / Like yours, amiable beast / Deep and cold cuts and splits like a dart “Thus wrote Baudelaire about cats. Thus Bonnard painted.