By Albert Kostenevich
Pierre Bonnard used to be the chief of a bunch of post-impressionist painters who referred to as themselves the Nabis, from the Hebrew note that 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 classes within the background of French portray. inspired via Odilon Redon and Puvis de Chavanne, by means of well known imagery and eastern etchings, this post-impressionist crew used to be especially a detailed circle of associates who shared an analogous cultural historical past and pursuits. An expanding individualism of their paintings of. Read more...
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He tends to avoid a close scrutiny of his characters. Looking at the Landscape with a Goods Train, the viewer finds himself drawn into a system of resemblances. In pictorial terms, as well as by some inner meaning, the head of the little girl, the clump of trees, the puffs of smoke coming from the engine and the tugs, and the clouds are linked in a common chain. For all the relative nature of brushstrokes or, perhaps, because of it, the viewer is made to feel himself inside the picture, as in the Mirror in the Dressing-Room.
He might have continued his experiments in decorative painting. He might have concentrated his attention on an ironical and psychological approach to the subject, not unlike that of Toulouse-Lautrec. ) He might have yielded to the temptations of sensual subjects exemplified by the series of nudes he painted in 1899-1900. He might have focused on portraiture: his few efforts in that line reveal him as an astute student of the human soul. In fact, however, most of the works he created at that time and in the following decade show no marked preference for any one of these traditional genres.
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. It would seem from this that Bonnard had no special talent for monumental art, yet his large decorative panels are excellent.
Bonnard and the Nabis by Albert Kostenevich