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Bonnard Pierre
Pierre Bonnard: The Late Still Lifes and Interiors (Metropolitan Museum of Art)
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Working in his villa in the south of France, Pierre Bonnard (18671947) suffused his late canvases with radiant Mediterranean light and dazzling color. Although his subjects were close at handusually everyday domestic scenesBonnard rarely painted from life. Instead, he made pencil sketches in diaries and relied on these, along with his memory, as he executed the works in his studio. These interiors thus often conflate details from the artist’s daily life with fleeting, mysterious evocations of his past. The spectral figures who appear at the margins of the canvases, overshadowed by brilliantly colored baskets of fruit or other props, create an atmosphere of profound ambiguity and puzzling abstraction: the mundane rendered in a wholly new pictorial language. The 75 paintings, drawings, and watercolors in this volume, some rarely seen treasures from private collections, all made between 1923 and 1947, are central to the ongoing reappraisal of Bonnard as a leading figure of French modernism. (20090501)
Bonnard (World of Art)
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Reviewing the work of Bonnard, one of the best-loved artists of the modern period, this book draws insights into his personality from his paintings. It is published on the occasion of a retrospective exhibition at the Tate Gallery, London, in February 1998. Bonnard's association with the Nabis, especially Vuillard, inspired him to develop Impressionist notions, by treating light and colour in an entirely fresh way. Influenced by Japanese prints, Bonnard's style evolved into decorative intimate evocations of interiors; in his mature work, the rich and sometimes near-abstract compositions of the 1930s and 1940s recall Matisse's monumental treatments. His best-known figure paintings, the many intimate portraits of his wife Marthe, express profoundly human concerns, characteristic of all Bonnard's painting.
Bonnard
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This volume accompanied a major international retrospective of Pierre Bonnard at London's Tate Gallery and the New York Museum of Modern Art, featuring loans from numerous public and private collections. The book includes new research by Sarah Whitfield.
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. The early, intimate, Nabi paintings are often dark, with figures that stand out like candle flames in shadowy interiors. But Bonnard's use of umber, sienna, and various blacks--occasionally in the shape of a dachshund--is forever part of what makes those brilliant reds and oranges sing. Even 60 years into his career, the painter gave full range to his palette, balancing the most highly colored canvasses with others of pale, soft grays. Those readers who have been succored on the 1984 Phillips Collection catalogue will find MoMA's new one every bit as nourishing.
Pierre Bonnard: The Work of Art, Suspending Time
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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 Bonnard's models as he saw them.
Bonnard at Le Cannet
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It was in 1909 that Pierre Bonnard first discovered the radiant light of the Cote d'Azur. Captivated by its luminous colours, he returned almost every year and in 1926 bought a small house, "Le Bosquet", at Le Cannet. It became his favourite working place, and was, from 1939, not only his permanant home, but a recurring subject in his paintings. Michel Terrasse, Bonnard's great-nephew, is owner of this house which he has preserved. His recollections and drawings are accompanied by related drawings and paintings, and photographs of Bonnard and his studio taken in 1945. It also includes colour illustrations of "Le Bosquet" today, a list of paintings executed there and reproductions of pages from the artist's diaries.
Pierre Bonnard: Early and Late
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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.
Bonnard Pierre News

Alex Katz with Phong Bui - Brooklyn Rail
Brooklyn Rail, NY - May 07, 2009
Brooklyn RailAlex Katz with Phong BuiI should mention that the Bonnard paintings that I saw at Paul Rosenberg Gallery around 56, 57 changed everything for me because basically, up to that point, all the painters I'd looked at—Picasso, and my teachers—all painted with black lines around
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Norfolk and Norwich Festival Diary: Monday May 11 - Norfolk Eastern Daily Press
Norfolk Eastern Daily Press, UK - May 11, 2009
Norfolk and Norwich Festival Diary: Monday May 11In New York last month I caught the last day of the Late Bonnard show at the Metropolitan Museum of Art. Great artists - Turner, Monet, Matisse, Pierre Bonnard - can be at their greatest near the end, their vision gaining in poetic power even as their
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ART MARKET WATCH - Artnet
Artnet, NY - May 07, 2009
ART MARKET WATCHLot 20, Pierre Bonnard, Nu devant la glasse ou baigneuse, 1915, est. $800000-$1200000. A naked woman with a cute bum, seen bum side out. The advent of indoor plumbing and showers altered the face of French painting. Bathroom voyeurism changed from a
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The Year of the Elephant: Our cold war with Iran unfolds in Lebanon
شفاف الشرق الأوسط - May 11, 2009
The tailored suits, the loosened ties, the broad hands, the arrangement of tall flowers in the center of the room—the scene had the sunlit inner presence, the radiant sensual completeness, of the world of physical objects as painted by Bonnard or
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A Million Little Pictures: The Pictures Generation Revisited - The Nation.
The Nation., NY - May 14, 2009
A Million Little Pictures: The Pictures Generation RevisitedBarry Schwabsky: Pierre Bonnard's late still lifes, on view at the Met, are lessons in unknowing. Barry Schwabsky: Barbara Guest's Collected Poems showcase her knack for catching sight of time in its act of escaping one's grasp.
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