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Pierre Bonnard

French Painter and Printmaker

Pierre Bonnard Photo
Born: October 3, 1867
Fontenay-aux-Roses, France
Died: January 23, 1947
Le Cannet, France
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Art is not nature.. There was a lot more to be got out of color.
Pierre Bonnard Signature

Summary of Pierre Bonnard

Pierre Bonnard was a member of the Symbolist group of painters known as Les Nabis ("prophets" or "seers"), and so subscribed to the Nabi doctrine of abandoning three-dimensional modeling in favor of flat color areas. However, although Bonnard was a member of this group, he was not interested in obscure Symbolist subject matter and was not a mystic. Instead, he was satisfied - even fascinated and delighted by - the scenes of simple daily life around him. Because of this, he has been called an "intimist."

Key Ideas

Biography of Pierre Bonnard

Pierre Bonnard Photo

Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine, on October 3, 1867. He was the son of a prominent official of the French Ministry of War, and upon the insistence of his father, Bonnard studied law at the Sorbonne from 1885 to 1888. He graduated with a Baccalaureate, distinguishing himself in the Classics, and briefly practiced as a barrister in a government office. However, he had also attended art classes at the École des Beaux-Arts, where he failed to win the Prix de Rome (which would have allowed him to study at the French Academy in Rome), and so transferred to the Académie Julian in 1889, where he met Maurice Denis, Paul Sérusier, Ker-Xavier Roussel, Paul Ranson, Félix Vallotton, and Édouard Vuillard. He soon decided to become an artist, and in 1890 shared a studio in Montmartre with Denis and Vuillard. Later they were joined by theatrical producer Aurélian Lugné-Poe with whom Bonnard collaborated on productions for the Théâtre de l'Oeuvre in Paris.

Important Art by Pierre Bonnard

France Champagne (1891)

France Champagne (1891)

This lithograph launched Bonnard's career from law into art; in 1889, he won a competition to design a poster advertising France Champagne, which led him to create this illustration. A seemingly frivolous female looks over her shoulder, holding a fan in one hand and her magical glass of champagne in the other. There is a witty play on the oneness of the young girl with the bubbles of champagne. Champagne bubbles, expressed through an agitated line that alternates between thick and thin, create both a literal and symbolic feeling of froth. The bubbles engulf the woman and she becomes part of the total pattern. The "C" of the word "Champagne" relates visually to the arc of her arm such that compositional elements reinforce the gaiety of the woman and of champagne itself. The work is characterized by continuous, undulating outlines, flattened form, flat poster color, distorted perspective and proportion, purposeful distortion of perspective and proportion, and the elimination of detail and decoration. The influences of Japanese prints is visible here and, perhaps even more so, that of Jules Cheret's prints. France Champagne, which was to influence Henri de Toulouse-Lautrec, is an early expression of the Art Nouveau aesthetic as well as an early use of the pretty girl to advertise a product.

Promenade des nourrices, fries des fiacres (Nannies Promenade, Frieze of Carriages) (1897)

Promenade des nourrices, fries des fiacres (Nannies Promenade, Frieze of Carriages) (1897)

This four-paneled work is characterized by its understatement, economy of line, and rhythm. Bonnard places his figures asymmetrically and balances them against the empty space. The decorative use of silhouette is influenced by both the Art Nouveau style and of Japanese prints. Bonnard here employs a great economy of means - accomplishing many effects with only a few elements. An example of this would be the way the artist lets white function in multiple ways: it fills in the faces and it is worked into the figures' costumes. The animated linear arabesque of the dog functions in such a way as to suggest volume. Through the distortion of form for decorative effect, Bonnard has created a world of decorative unreality that asserts the two-dimensionality of the wall, thus uniting art and architecture.

Woman Reclining on a Bed (1899)

Woman Reclining on a Bed (1899)

This painting is a good example of Bonnard embedding his figure within an intimate surrounding. The artist employs a corner point of view from which we are allowed to view the figure, whose face is concealed in shadow. The brushwork is similar to that of the Impressionists, but the artist has created more of an intimate, moody atmosphere - almost an erotic one - with the viewer as voyeur. Furthermore, this is not the monumental or idealized nude that one might recognize from a Titian or Rubens: this nude distinguishes itself from other nudes of the time in its natural pose and lack of inhibition. In fact, Bonnard is often credited with the introduction of this "modern" nude.

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Content compiled and written by The Art Story Contributors

Edited and published by The Art Story Contributors

"Pierre Bonnard Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
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First published on 05 Dec 2014. Updated and modified regularly
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