By Albert Kostenevitch
Pierre Bonnard was once the chief of a gaggle of post-impressionist painters who known as themselves the Nabis, from the Hebrew note which means 'prophet'. Bonnard, Vuillard, Roussel and Denis, the main extraordinary of the Nabis, revolutionized the spirit of ornamental innovations in the course of one of many richest sessions within the historical past of French portray. inspired by means of Odilon Redon and Puvis de Chavanne, via renowned imagery and jap etchings, this post-impressionist workforce used to be notably an in depth circle of neighbors who shared a similar cultural heritage and pursuits. An expanding individualism of their artwork frequently threatened the group's harmony and even though tied jointly by means of a typical philosophy their paintings basically diverged. This e-book we could us evaluate and positioned into standpoint the artists inside this attention-grabbing team. The works offered during this assortment provide a palette of impressive poetic expressions: candid in Bonnard, decorative and mysterious in Vuillard, lightly dream-like in Denis, grim and nearly sour in Vallotton, the writer stocks with us the lives of those artists to the very resource in their artistic presents.
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Extra info for Bonnard and the Nabis (Temporis Collection)
With the alert eye of a master, Bonnard also catches a person’s way of walking or behaving. The old flower-seller in Evening in Paris moves in a manner typical of her alone, unhurriedly measuring each step. The children fooling about a bit in the street move as only children can. The details of the picture are so arranged as to give an impression of the Parisian way of life. In Morning in Paris in the foreground the artist depicts people who have to rise early — the old coal merchant, a group of young girls hurrying to work, a little boy loitering on his way to school.
The artist treats the streets with their specifically Parisian hustle and bustle and wealth of colour as a mixture of landscape and genre scene forming a single whole. With Bonnard’s indoor scenes, we seem to face the same question. It is far from easy to decide whether we are looking at a depiction of a room enlivened by the presence of a human figure, or a genre scene where the interior serves as a background. It was, in fact, quite natural for Bonnard to combine several genres in one picture.
Whatever the truth of the matter, Bonnard’s last picture of this kind, Place Clichy, is dated 1912 (Musée des Beaux-Arts et d’Archéologie, Besançon). It is a large painting which appears to be a sort of synthesis of the motifs in the Moscow works. The liveliness, the unassuming simplicity of the subject, an apparently casual composition which, however, always has a “framework” (Bonnard’s word) and is well balanced, the mobility of texture, with each brushstroke vibrating in every patch of colour — all these elements are characteristic of an easel painting.