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1127:"Bonnard is the most thoroughly idiosyncratic of all the great twentieth-century painters. What sustains him is not traditional ideas of pictorial structure and order, but rather some unique combination of visual taste, psychological insight, and poetic feeling. He also has a quality that might be characterized as perceptual witâan instinct for what will work in a painting. Almost invariably he recognizes the precise point where his voluptuousness may be getting out of hand, where he needs to introduce an ironic note. Bonnard's wit has everything to do with the eccentric nature of his compositions. He finds it funny to sneak a figure into a corner, or have a cat staring out at the viewer. His metaphoric caprices have a comic edge, as when he turns a figure into a pattern in the wallpaper. And when he imagines a basket of fruit as a heap of emeralds and rubies and diamonds, he does so with the panache of a magician pulling a rabbit out of a hat."
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556:. He also took part in an exhibition with the other Nabis at the Bernheim Jeaune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905, he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908, he illustrated a book of poetry by
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From 1893 until her death, Bonnard lived with Marthe de MĂ©ligny (1869â1942), and she was the model for many of his paintings, including many nudes. Her birth name was Maria
Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had
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Bonnard wrote, "Notre génération a toujours cherché les rapports de l'art avec la vie" (Our generation always was searching for connections between art and life). Bonnard and the other Nabis were particularly interested in integrating their art into popular forms, such as posters, journal covers and
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Some of the Nabis had highly religious, philosophical or mystical approaches to their paintings, but
Bonnard remained more cheerful and unaffiliated. The painter-writer Aurelien Lugné-Poe, who shared a studio at 28 rue Pigalle with Bonnard and Vuillard, wrote later, "Pierre Bonnard was the humorist
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as four separate decorative panels. The female forms are reduced to flat silhouettes, and there is no rendering of depth in the picture. The faces are turned away from the viewer and the pictures are entirely dominated by the colors and bold patterns of the costumes and the backgrounds. The models
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Throughout the early 20th century, as new artistic movements emerged, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping constant the characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the
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was held at the Durand-Ruel
Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became
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Bonnard received pressure from a different direction to continue painting. While he had received his license to practice law in 1888, he failed in the examination for entering the official registry of lawyers. Art was his only option. After the summer holidays, he joined with his friends from the
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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,
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Bonnard did not paint from life but rather drew his subjectâsometimes photographing it as wellâand made notes on the colors. He then painted the canvas in his studio from his notes. "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
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In 1894, he turned in a new direction and made a series of paintings of scenes of the life of Paris. In his urban scenes, the buildings and even animals were the focus of attention; faces were rarely visible. He also made his first portrait of his future wife, Marthe, whom he married in 1925. In
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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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Bonnard is known for his intense use of color, especially via areas built with small brush marks and close values. His often complex compositionsâtypically of sunlit interiors and gardens populated with friends and family membersâare both narrative and autobiographical. Bonnard's fondness for
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Bonnard has been described as "the most thoroughly idiosyncratic of all the great twentieth-century painters", and the unusual vantage points of his compositions rely less on traditional modes of pictorial structure than voluptuous color, poetic allusions and visual wit. Identified as a late
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He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892, he began creating lithographs, and painted
1024:"; 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
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at Pont-Aven, using patches of pure color in the style of
Gauguin. In 1890, Maurice Denis, at age twenty, formalized the doctrine in which a painting was considered "a surface plane covered with colors assembled in a certain order."
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At the beginning of his career, Bonnard designed posters for a French champagne firm, for which he gained public attention. He later produced many sets of engravings illustrating the works of the avant-garde authors of his time.
340:, an informal group of artists with different styles and philosophies but common artistic ambitions. As he later wrote, Bonnard was entirely unaware of the Impressionist painters, or of Gauguin and other new painters. His friend
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He received his education in the Lycée Louis-le-Grand and Lycée
Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parents' country home at
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in
September 1939 forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of French collaborationist leader
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293:. He also sold his first commercial work of art, a design for a poster for France-Champagne, which helped him convince his family that he could make a living as an artist. His first studio was on the rue Lechapelais.
259:. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer in 1888.
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assessed the artist in terms of his relationship to
Impressionism, and found him wanting. "In Bonnard's work," he wrote, "Impressionism becomes insipid and falls into decline." In response,
871:, which included color illustrations in 1891. In 1890, Bing organized an important exhibition of seven hundred prints he had brought from Japan, and made a donation of Japanese art to the
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610:(1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925, he purchased a villa in
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illustrations, and engravings in books, as well as into ordinary household decoration, in the form of murals, painted screens, textiles, tapestries, furniture, glass and dishes.
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440:. The following year he participated in a group exposition of Nabis at the Amboise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis.
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among us; his nonchalant gaiety, and humor expressed in his productions, of which the decorative spirit always preserved a sort of satire, from which he later departed."
200:. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject.
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in New York City organized a posthumous retrospective of
Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's 80th birthday.
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1157:), with an estimated value of around âŹ600,000 (ÂŁ497,000), which had been stolen in London in 1970, was discovered in Italy. The painting, together with a work by
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are his sister Andreé and his cousin Berthe
Schaedin. Bonnard often pictured women in checkered blouses, a design he said he had discovered in Japanese prints.
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century, he has since been recognized for his unique use of color and his complex imagery. "It's not just the colors that radiate in a Bonnard," writes
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Although Bonnard avoided public attention, his work sold well during his life. At the time of his death, his reputation had been eclipsed by subsequent
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During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including
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1180:. In the novel, the protagonist and art historian Max Morden is writing a book about Bonnard and discusses the painter's life and work throughout.
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867:. Bing brought works by Hokusai and other Japanese print makers to France, and from May 1888 through April 1891 published a monthly art journal,
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Serrano, V. (2019). He who sings is not always happy. In Tate Gallery exhibition catalogue, "Pierre Bonnard: The colour of memory", pp. 34â39
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In 1895, he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel,
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love affairs with two other women, who also served as models for some of his paintings: Renée Monchaty (the partner of the American painter
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Japanese art played an important part in Bonnard's work. He was first able to see the works of Japanese artists via the Paris gallery of
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in San Francisco hosted an exhibit "Pierre Bonnard: Painting Arcadia", featuring more than 70 works spanning the artist's entire career.
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in the 52nd Infantry Regiment. After leaving the Army, Bonnard did not return to the Law, but rather to art, becoming an artist.
172:, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the
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886:(1890â91), now in the MuseĂ© d'Orsay. Originally designed to appear together as a single screen, Bonnard decided to display
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remarked that Bonnard "catches fleeting poses, steals unconscious gestures, crystallises the most transient expressions".
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The style of Japanese graphic arts became an important influence on Bonnard. In 1893, a major exposition of works of
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1770:"Cannes Premiere Title 'Bonnard, Pierre and Marthe' Sells for Memento International; Trailer Unveiled (EXCLUSIVE)"
1756:"'Bonnard, Pierre and Marthe' Sells to Major Markets for Memento International, First Stills Unveiled (EXCLUSIVE)"
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had been bought by a Fiat employee in 1975, at a railway lost-property sale, for 45,000 lira (about ÂŁ32).
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378:. In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville.
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Bonnard produced a work during his sixty years' activity that follows an even line of development."
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595:. His reputation in the French art establishment was secure; in 1918 he was selected, along with
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in New York City. In 2009, the exhibition "Pierre Bonnard: The Late Interiors" was shown at the
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Poster for France-Champagne by Pierre Bonnard (1891), which made him known outside the art world
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wrote: "I maintain that Bonnard is a great artist for our time and, naturally, for posterity."
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developments in the art world; reviewing a retrospective of Bonnard's work in Paris in 1947,
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The Smith College Museum of Art: European and American Painting and Sculpture, 1760-1960
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Two major exhibitions of Bonnard's work took place in 1998: February through May at the
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855:, decorative screen showing a procession of carriages with nurses and children (1897),
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405:. He also made a series of illustrations for the music books of his brother-in-law,
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and other Japanese artists. Bonnard was a leading figure in the transition from
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in Paris. At the Académie Julien he met his future friends and fellow artists,
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On Classic Ground: Picasso, LĂ©ger, de Chirico and the New Classicism 1910-1930
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1988:, Jill Newhouse Gallery (Curated by Karen Wilkin), 27 February - 4 March 2018
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1731:"Stolen paintings hung on Italian factory worker's wall for almost 40 years"
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depicting intimate scenes of everyday life, has led to him being called an "
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In 1938, Bonnard and Vuillard's works were featured at an exposition at the
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Illustration for a music textbook written by his brother-in-law, composer
781:, a week before his death in his cottage on La Route de Serra Capeou near
1848:, Kunsthaus ZĂŒrich & Grand Palais, Paris & Prestel, Munich 1993
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in American public collections, on the French Sculpture Census website
599:, as an honorary President of the Association of Young French Artists.
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and, in December 1891, showed his work at the annual exhibition of the
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Salon des Independents in 1900, and also produced 109 lithographs for
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568:. in 1909 and, in 1911, began a series of decorative panels, called
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Ives, Colta Feller; Giambruni, Helen Emery; Newman, Sasha M (1989).
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Art, Smith College Museum of; Davis, John; Leshko, Jaroslaw (2000).
1200:, which focuses on the couple's romance. The movie premiered at the
489:(1892), one of several colorful paintings of Paris street performers
1938:
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Painted screen with crane, ducks, pheasant, bamboo and ferns (1889)
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showed him a painting on a wooden cigar box he made after visiting
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Stanton L. Catlin, "Pierre Bonnard's Dining Room in the Country,"
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Bonnard features heavily in the 2005 Booker prize winning novel,
859:. As in Japanese screens, the action is read from right to left.
160:; 3 October 1867 – 23 January 1947) was a French
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1995:
474:(1892), a portrait of his sister Andrée Terrasse, with her cat
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on 3 October 1867. His mother, Ălisabeth Mertzdorff, was from
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scroll artâlong, vertical panelsâin his series of paintings
364:. In the same year, Bonnard also began an association with
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FrĂšches-Thory, Claire, & Perucchi-Petry, Ursula, ed.:
262:
While he was studying law, he attended art classes at the
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Painted screen; the Bonnard family in the garden (1896),
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1895, he became an early participant of the movement of
184:, his early work was strongly influenced by the work of
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In the 1920s, he produced illustrations for a book by
459:. The checked blouse was inspired by Japanese prints.
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In 1889â1890, Bonnard performed military service as a
1704:"Un tableau de Gauguin retiré des enchÚres à Londres"
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215:by Pierre Bonnard (probably about 1890). His first
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1788:Pierre Bonnard: The Late Still Lifes and Interiors
219:painting, a souvenir of his brief military service
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1138:Bonnard's record price in a public sale was for
1109:in London, and from June through October at the
722:Strasbourg Museum of Modern and Contemporary Art
1895:Bonnard Late in Life, Searching for the Light,
1472:, Beaux Arts Editions (March 2019), pp. 38â40
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1830:Cowling, Elizabeth; Mundy, Jennifer (1990).
1117:. Reviewing the exhibition for the magazine
1036:, which usually depicted flowers and fruit.
1917:Whitfield, Sarah; Elderfield, John (1998).
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417:, designing a stained glass window, called
235:. His father, EugĂšne Bonnard, was from the
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1629:The Minneapolis Institute of Arts Bulletin
1489:, Beaux Arts Editions, p. 18 (March 2019)
20:
1710:(in French). lapresse.ca. 9 February 2011
16:French painter and printmaker (1867â1947)
1979:, Jill Newhouse Gallery, 4 - 26 May 2023
1879:. New York: Metropolitan Museum of Art.
961:, Metropolitan Museum also published in
2947:Members of the Royal Academy of Belgium
2086:Portrait of Ambroise Vollard with a Cat
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777:In 1947 he finished his last painting,
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2952:Honorary members of the Royal Academy
1146:in 2011 for âŹ8,485,287 (ÂŁ7,014,200).
651:Royal Museums of Fine Arts of Belgium
281:In 1888, Bonnard was accepted by the
155:
7:
1790:. New Haven: Yale University Press.
1191:in the 2023 French film directed by
1040:start painting I reflect, I dream."
1631:44, No. 6, November 1955, pp. 43-49
878:Bonnard used the model of Japanese
683:Vernonnet - Paysage prĂšs de Giverny
2927:French Post-impressionist painters
1921:. New York: Harry N. Abrams, Inc.
1679:"Pierre Bonnard: Painting Arcadia"
774:, who had died two years earlier.
14:
1948:"Complicated Bliss" by Jed Perl,
1903:Turner, Elizabeth Hutton (2002).
1164:Fruit on a Table with a Small Dog
749:Final years and death (1939â1947)
362:Société des Artistes Indépendants
2912:20th-century French male artists
2897:19th-century French male artists
1846:Die Nabis: Propheten der Moderne
1517:L'Art Nouveau, du sol au plafond
1500:L'Art Nouveau, du sol au plafond
1310:"Pierre Bonnard | French artist"
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2942:20th-century French printmakers
1905:Pierre Bonnard: Early and Late.
1876:Pierre Bonnard: the Graphic Art
1862:. London: Thames & Hudson.
1561:Cowling and Mundy, 1990, p. 38.
1225:EncyclopĂŠdia Britannica on-line
2877:People from Fontenay-aux-Roses
1729:Davies, Lizzy (2 April 2014).
1411:Cited in Cogeval (2015), p. 11
806:Nude in the Bath and Small Dog
770:, with the face of his friend
1:
1048:Critical reception and legacy
1014:Minneapolis Institute of Arts
572:, for the Russian art patron
502:Two Dogs in a Deserted Street
38:
2907:20th-century French painters
2892:19th-century French painters
1800:Brodskaya, Nathalia (2011).
1577:. Hudson Hills. p. 28.
1523:, Beaux Arts Ăditions (2019)
1506:, Beaux Arts Ăditions (2019)
1452:Cogenal (2015), pp. 136â137)
857:National Gallery of Victoria
631:National Gallery of Victoria
436:, published in series by in
2917:Lycée Louis-le-Grand alumni
1498:Cited in Flouquet, Sophie,
1151:La femme aux Deux Fauteuils
1056:Illustration for a poem by
223:Pierre Bonnard was born in
188:, as well as the prints of
2968:
2142:Bonnard, Pierre and Marthe
2062:Dining Room in the Country
1985:Pierre Bonnard: Affinities
1820:. Paris: Hazan, Malakoff.
1805:. Parkstone International.
1646:Perl, Jed (1 April 2009).
1202:2023 Cannes Film Festival
1197:Bonnard, Pierre and Marthe
1115:Metropolitan Museum of Art
1032:, street scenes, and many
1010:Dining Room in the Country
823:Last self-portrait (1945)
779:The Almond Tree in Blossom
703:(1922), private collection
85:La Route de Serra Capeou,
2549:Henri de Toulouse-Lautrec
1959:(public domain in Canada)
1786:Amory, Dita, ed. (2009).
838:Stairs with Mimosa (1946)
701:Jeunes femmes dans la rue
392:Le Nabi le trés japonard.
298:soldat de deuxiĂšme classe
142:
133:
124:
30:
2298:Toulouse-Lautrec Cooking
1907:London: Phillip Wilson.
1834:. London: Tate Gallery.
1483:ProphĂštes d;un art total
1429:Cogeval (2015), page 148
1155:Woman with Two Armchairs
963:Les MaĂźtres de l'Affiche
755:Art Institute of Chicago
331:Early career â the Nabis
204:Early life and education
1957:Works by Pierre Bonnard
1858:Hyman, Timothy (1998).
1466:La déferlante japonaise
1314:EncyclopĂŠdia Britannica
1012:(1913), oil on canvas,
543:Later years (1900â1938)
506:National Gallery of Art
504:(1894), oil on canvas,
336:Academy Julien to form
2937:Lycée Condorcet alumni
2882:Académie Julian alumni
2779:Salon des Indépendants
2759:Le Barc de Boutteville
2713:Robert Antoine Pinchon
2046:Nude Against the Light
1982:Exhibition catalogue,
1973:Exhibition catalogue,
1464:Lacambre, GeneviĂšve,
1443:Cogeval (2015), p. 149
1208:References and sources
1149:In 2014, the painting
1129:
1061:
1016:
957:Poster for the review
860:
810:Carnegie Museum of Art
768:Saint Francis de Sales
646:Nude Against the Light
606:(1924) and another by
319:
220:
2744:Artistes Indépendants
2673:Karl Schmidt-Rottluff
2668:Ernst Ludwig Kirchner
2574:Théo van Rysselberghe
2094:Fruit Bowl on a Table
1816:Cogeval, Guy (2015).
1521:Les Nabis et le decor
1504:Les Nabis et le decor
1487:Les Nabis et le décor
1470:Les Nabis et le décor
1402:Cogeval (2015), p. 10
1183:Bonnard is played by
1125:
1055:
1008:
851:
717:Fruit Bowl on a Table
552:, a book of poems by
399:Le Corsage a carreaux
311:
211:
2902:French male painters
2887:Art Nouveau painters
1943:Museum of Modern Art
1537:Graham-Dixon, Andrew
1393:Cogeval (2015), p. 9
1111:Museum of Modern Art
917:Alte Nationalgalerie
791:Museum of Modern Art
687:Aberdeen Art Gallery
403:La Partie de croquet
283:Ăcole des Beaux-Arts
274:, Gabriel Ibels and
2789:Salon des Tuileries
2764:La Libre Esthétique
2529:RenĂ© SchĂŒtzenberger
2509:Hippolyte Petitjean
2325:L'Estampe originale
2225:Henri-Gabriel Ibels
1648:"Complicated Bliss"
1246:Phillips Collection
979:, lithograph (1893)
888:Women in the garden
884:Women in the garden
869:Le Japon Artistique
589:La Paradis Terreste
457:Clark Art Institute
370:, for which he and
253:La CÎte-Saint-André
2754:Volpini Exhibition
2489:Henri-Edmond Cross
2384:Post-Impressionism
2341:Post-Impressionism
2245:Ker-Xavier Roussel
2125:Post-Impressionism
1899:, January 29, 2009
1897:The New York Times
1826:978-2-7541-08-36-2
1758:. 11 January 2023.
1545:by Pierre Bonnard"
1539:(24 August 2003).
1515:Flouquet, Sophie,
1345:ugeniodavenezia.eu
1123:, Jed Perl wrote:
1062:
1017:
861:
853:Nanniesâ Promenade
757:. The outbreak of
320:
291:Ker Xavier Roussel
225:Fontenay-aux-Roses
221:
174:Post-Impressionist
111:Post-Impressionism
63:Fontenay-aux-Roses
2849:
2848:
2678:Wassily Kandinsky
2401:Neo-Impressionism
2349:
2348:
2306:Homage to CĂ©zanne
2152:
2151:
2102:Nude on the Chair
2070:Normand Landscape
1913:978-0-85667-556-0
1868:978-0-500-20310-1
1796:978-0-300-14889-3
1140:Terrasse Ă Vernon
1094:in the early 20th
1065:Claude Roger-Marx
825:Bemberg Fondation
808:, (c. 1941â1946)
146:
145:
2959:
2769:Ambroise Vollard
2718:Henriette Tirman
2612:Der Blaue Reiter
2584:Ădouard Vuillard
2569:Vincent van Gogh
2499:Georges Dufrénoy
2385:
2376:
2369:
2362:
2353:
2265:Ădouard Vuillard
2235:Aristide Maillol
2179:
2172:
2165:
2156:
2136:Ambroise Vollard
2054:Woman with a Cat
2016:
2009:
2002:
1993:
1970:
1950:The New Republic
1893:Smith, Roberta.
1890:
1774:
1773:
1766:
1760:
1759:
1752:
1746:
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1559:
1553:
1552:
1549:Sunday Telegraph
1533:
1524:
1513:
1507:
1496:
1490:
1481:BĂ©tard, Daphne,
1479:
1473:
1462:
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1300:
1293:
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1237:
1235:Grove Art Online
1232:
1226:
1223:
1189:CĂ©cile de France
1185:Vincent Macaigne
1120:The New Republic
1097:
1090:practitioner of
1076:Christian Zervos
988:
973:
954:
942:
912:
900:
835:
820:
802:
732:
712:
697:
679:
669:Hermitage Museum
665:Morning in Paris
661:
641:
623:
593:Paysage de Ville
531:
516:
498:
483:
472:Checkered Blouse
468:
453:Woman with a Dog
449:
438:La Revue Blanche
372:Ădouard Vuillard
367:La Revue Blanche
358:Toulouse-Lautrec
356:In 1891, he met
312:Pierre Bonnard,
287:Ădouard Vuillard
213:A Barracks Scene
159:
154:
138:
81:
58:
56:
43:
40:
35:
21:
2967:
2966:
2962:
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2960:
2958:
2957:
2956:
2932:School of Paris
2852:
2851:
2850:
2845:
2814:
2793:
2774:Salon d'Automne
2732:
2703:Francis Picabia
2626:
2594:
2588:
2579:FĂ©lix Vallotton
2564:Maximilien Luce
2479:Marius Borgeaud
2459:Charles Angrand
2442:
2393:
2387:
2383:
2380:
2350:
2345:
2312:
2269:
2255:FĂ©lix Vallotton
2230:Georges Lacombe
2210:Maxime Dethomas
2188:
2183:
2153:
2148:
2108:
2078:The Open Window
2025:
2020:
1935:
1887:
1872:
1783:
1778:
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1768:
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1754:
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1739:
1737:
1728:
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1701:
1697:
1687:
1685:
1683:Legion of Honor
1677:
1676:
1672:
1667:
1663:
1653:
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1626:
1622:
1617:
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1569:
1565:
1560:
1556:
1543:The Open Window
1535:
1534:
1527:
1514:
1510:
1497:
1493:
1480:
1476:
1468:, published in
1463:
1456:
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1233:
1229:
1224:
1220:
1215:
1210:
1133:Legion of Honor
1095:
1050:
1003:
996:
993:Claude Terrasse
989:
980:
974:
965:
955:
946:
943:
926:
919:
913:
904:
901:
846:
839:
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827:
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812:
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764:Marechal Petain
751:
744:
733:
724:
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671:
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633:
624:
545:
538:
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490:
484:
475:
469:
460:
450:
407:Claude Terrasse
333:
306:
285:, where he met
264:Académie Julian
241:Claude Terrasse
206:
157:[bÉnaÊ]
152:
94:
91:Alpes-Maritimes
83:
79:
78:23 January 1947
70:
60:
54:
52:
44:
41:
26:
17:
12:
11:
5:
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2869:
2864:
2862:Pierre Bonnard
2854:
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2784:Salon des Cent
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2734:
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2710:
2705:
2700:
2695:
2693:Jean Metzinger
2690:
2685:
2683:Sonia Lewitska
2680:
2675:
2670:
2665:
2663:Albert Gleizes
2660:
2655:
2650:
2645:
2643:Charles Camoin
2640:
2638:Georges Braque
2634:
2632:
2628:
2627:
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2604:
2598:
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2581:
2576:
2571:
2566:
2561:
2559:Georges Lemmen
2556:
2551:
2546:
2541:
2539:Georges Seurat
2536:
2531:
2526:
2524:Henri Rousseau
2521:
2516:
2511:
2506:
2501:
2496:
2491:
2486:
2481:
2476:
2474:Pierre Bonnard
2471:
2466:
2461:
2456:
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2294:
2290:The Seamstress
2286:
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2257:
2252:
2247:
2242:
2237:
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2227:
2222:
2217:
2215:Meijer de Haan
2212:
2207:
2202:
2200:Pierre Bonnard
2196:
2194:
2190:
2189:
2184:
2182:
2181:
2174:
2167:
2159:
2150:
2149:
2147:
2146:
2138:
2133:
2130:Marthe Bonnard
2127:
2122:
2116:
2114:
2110:
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2106:
2098:
2090:
2082:
2074:
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2058:
2050:
2042:
2033:
2031:
2027:
2026:
2023:Pierre Bonnard
2021:
2019:
2018:
2011:
2004:
1996:
1990:
1989:
1980:
1976:Pierre Bonnard
1971:
1963:Pierre Bonnard
1960:
1954:
1952:, 1 April 2009
1945:
1939:Pierre Bonnard
1934:
1933:External links
1931:
1930:
1929:
1915:
1901:
1891:
1885:
1870:
1856:
1842:
1828:
1814:
1798:
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1779:
1776:
1775:
1772:. 9 June 2023.
1761:
1747:
1721:
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1670:
1661:
1650:. New Republic
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1413:
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1395:
1383:
1374:
1368:Cogeval, Guy,
1348:
1337:
1334:abcgallery.com
1326:
1301:
1295:Cogeval, Guy,
1288:
1282:Cogeval, Guy,
1275:
1273:(2015), p. 148
1269:Cogeval, Guy,
1262:
1256:Cogebal, Guy,
1249:
1238:
1227:
1217:
1216:
1214:
1211:
1209:
1206:
1193:Martin Provost
1187:and Marthe by
1049:
1046:
1026:self-portraits
1002:
999:
998:
997:
990:
983:
981:
975:
968:
966:
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922:
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920:
914:
907:
905:
902:
895:
865:Siegfried Bing
845:
842:
841:
840:
837:
830:
828:
822:
815:
813:
804:
797:
787:French Riviera
750:
747:
746:
745:
737:Nu Ă« la chaise
734:
727:
725:
714:
707:
705:
699:
692:
690:
681:
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663:
656:
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558:Octave Mirbeau
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485:
478:
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451:
444:
332:
329:
325:Harry Lachmann
305:
302:
249:Le Grand-Lemps
229:Hauts-de-Seine
205:
202:
149:Pierre Bonnard
144:
143:
140:
139:
131:
130:
126:
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108:
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100:
99:Known for
96:
95:
84:
82:(aged 79)
76:
72:
71:
61:
59:3 October 1867
50:
46:
45:
36:
28:
27:
25:Pierre Bonnard
24:
15:
13:
10:
9:
6:
4:
3:
2:
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2826:Impressionism
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2810:Albert Aurier
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2724:
2723:Jean Marchand
2721:
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2714:
2711:
2709:
2708:Pablo Picasso
2706:
2704:
2701:
2699:
2698:Henry Ottmann
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2658:Henri Matisse
2656:
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2618:
2617:Expressionism
2615:
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2599:
2597:
2593:20th-century
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2554:Charles Laval
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2545:
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2540:
2537:
2535:
2534:Paul SĂ©rusier
2532:
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2527:
2525:
2522:
2520:
2517:
2515:
2512:
2510:
2507:
2505:
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2500:
2497:
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2494:Maurice Denis
2492:
2490:
2487:
2485:
2482:
2480:
2477:
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2470:
2467:
2465:
2464:Ămile Bernard
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1886:0-87099-566-9
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1855:
1854:3-7913-1969-8
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1840:1-85437-043-X
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1735:The Giuardian
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1618:Brodskaya, 16
1615:
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1609:Brodskaya, 14
1606:
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1584:9781555951948
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1420:Brodskaya, 42
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1372:(2015) p. 148
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1178:John Banville
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1131:In 2016, the
1128:
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1103:
1101:
1100:Roberta Smith
1093:
1092:Impressionism
1087:
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1080:Henri Matisse
1077:
1073:
1068:
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1059:
1058:Paul Verlaine
1054:
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342:Paul SĂ©rusier
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315:Self-portrait
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304:Personal life
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34:
29:
22:
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2841:Secessionism
2805:Félix Fénéon
2728:Othon Friesz
2648:André Derain
2519:Odilon Redon
2504:Paul Gauguin
2484:Paul CĂ©zanne
2473:
2469:Edvard Munch
2420:
2323:
2304:
2296:
2288:
2282:The Talisman
2280:
2220:Hermann-Paul
2199:
2140:
2100:
2092:
2084:
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2068:
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2044:
2036:
2022:
1984:
1975:
1949:
1918:
1904:
1896:
1875:
1859:
1845:
1831:
1817:
1802:
1787:
1764:
1750:
1738:. Retrieved
1734:
1724:
1712:. Retrieved
1707:
1698:
1686:. Retrieved
1682:
1673:
1664:
1652:. Retrieved
1628:
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1329:
1317:. Retrieved
1313:
1304:
1296:
1291:
1286:(2015), p. 8
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1159:Paul Gauguin
1154:
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1107:Tate Gallery
1104:
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759:World War II
752:
742:Museo Botero
735:
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664:
644:
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601:
592:
588:
584:
581:La Pastorale
580:
578:
574:Ivan Morozov
570:Méditerranée
569:
566:Saint-Tropez
549:
546:
534:
519:
501:
486:
471:
452:
437:
434:Peter Nansen
429:
427:
418:
411:
402:
398:
395:
391:
380:
376:frontispiece
365:
355:
351:
346:Paul Gauguin
334:
321:
313:
297:
295:
280:
261:
245:
222:
212:
186:Paul Gauguin
148:
147:
80:(1947-01-23)
18:
2922:Nabis (art)
2872:1947 deaths
2867:1867 births
2737:Exhibitions
2544:Paul Signac
2514:Paul Ranson
2438:Art Nouveau
2416:Cloisonnism
2411:Pointillism
2406:Divisionism
2260:Jan Verkade
2240:Paul Ranson
2145:(2023 film)
2105:(1935-1938)
1299:(2015) p. 8
1072:avant-garde
1034:still lifes
608:Claude Anet
550:ParallĂšment
520:The Omnibus
415:Art Nouveau
374:designed a
276:Paul Ranson
178:avant-garde
166:illustrator
42: 1899
2856:Categories
2836:Modern art
2688:Franz Marc
2653:Raoul Dufy
2607:Die BrĂŒcke
2454:Cuno Amiet
2428:Synthetism
1812:1780420943
1541:"ITP 175:
1213:References
1144:Christie's
1142:, sold by
1030:landscapes
604:Andre Gide
487:The Parade
170:printmaker
55:1867-10-03
2831:Modernism
2595:movements
2433:Symbolism
2422:Les Nabis
2394:movements
2336:Lugné-Poe
2274:Paintings
2120:Les Nabis
2097:(c. 1934)
2089:(c. 1924)
2030:Paintings
1708:La Presse
1161:known as
785:, on the
783:Le Cannet
419:Maternity
387:Hiroshige
338:Les Nabis
318:, c. 1889
198:Modernism
182:Les Nabis
180:painters
176:group of
129:Signature
115:Les Nabis
87:Le Cannet
37:Bonnard,
2331:Intimism
2193:Painters
2038:Two Dogs
1714:29 March
1688:18 April
1600:Amory, 4
1319:18 April
1022:Intimist
880:kakemono
844:Japanism
772:Vuillard
720:(1934),
685:(1922),
667:(1912),
649:(1908),
629:(1900),
455:(1891),
257:Dauphiné
237:Dauphiné
119:Intimism
107:Movement
93:, France
69:, France
2819:Related
2798:Critics
2631:Artists
2602:Fauvism
2447:Artists
2317:Related
2113:Related
1941:at the
1919:Bonnard
1860:Bonnard
1818:Bonnard
1803:Bonnard
1781:Sources
1740:3 April
1654:4 April
1519:p. 42,
1502:p. 42,
1370:Bonnard
1297:Bonnard
1284:Bonnard
1271:Bonnard
1258:Bonnard
1173:The Sea
959:Blanche
562:Manguin
535:Dancers
423:Tiffany
383:Utamaro
255:in the
190:Hokusai
162:painter
153:French:
102:Painter
2749:Les XX
2622:Cubism
2309:(1900)
2301:(1898)
2293:(1893)
2285:(1888)
2132:(wife)
2081:(1921)
2073:(1920)
2065:(1913)
2057:(1912)
2049:(1908)
2041:(1891)
1925:
1911:
1883:
1866:
1852:
1838:
1824:
1810:
1794:
1581:
1260:, p. 8
1096:
1060:(1900)
1001:Method
995:(1893)
873:Louvre
789:. The
627:Siesta
612:Cannes
597:Renoir
537:(1896)
522:(1895)
421:, for
233:Alsace
2186:Nabis
1668:Smith
432:, by
430:Marie
251:near
67:Seine
1923:ISBN
1909:ISBN
1881:ISBN
1864:ISBN
1850:ISBN
1836:ISBN
1822:ISBN
1808:ISBN
1792:ISBN
1742:2014
1716:2015
1690:2016
1656:2014
1579:ISBN
1321:2016
591:and
401:and
385:and
289:and
217:Nabi
168:and
75:Died
49:Born
1176:by
564:in
196:to
2858::
1733:.
1706:.
1681:.
1636:^
1593:^
1547:.
1528:^
1485:,
1457:^
1434:^
1386:^
1351:^
1312:.
1204:.
1028:,
875:.
614:.
587:,
583:,
576:.
425:.
409:.
278:.
270:,
243:.
227:,
164:,
117:,
113:,
89:,
65:,
39:c.
2375:e
2368:t
2361:v
2178:e
2171:t
2164:v
2015:e
2008:t
2001:v
1889:.
1744:.
1718:.
1692:.
1658:.
1587:.
1551:.
1323:.
1153:(
151:(
57:)
53:(
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