Pierre Bonnard


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Bonnard, Pierre

(pyĕr bônärd`), 1867–1947, French painter, lithographer, and illustrator. In the 1890s he was associated with the NabisNabis
[Heb.,=prophets], a group of artists in France active during the 1890s. Paul Sérusier and Maurice Denis were the principal theorists of the group. Outstanding members were Édouard Vuillard, Pierre Bonnard, Aristide Maillol, Félix Vallotton, and the
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. His delight in familiar views of everyday life was transmitted to canvas with joy and gentle fantasy. Sometimes called an intimist, he explored the play of sunlight in domestic interiors in an exuberant style that was extremely close to impressionism (e.g., Bowl of Fruit, 1933; Philadelphia Mus. of Art). His other favorite subjects include landscapes, nudes, and self-portraits. Bonnard also had a reputation as a lithographer; his well-known prints include Daphnis and Chloe (1902). He also designed sets for the stage.

Bibliography

See biography by A. Terasse (1967); exhibition catalogs of the Phillips Collection, Washington, D.C. (1982), the Metropolitan Museum of Art (1990), and the Tate Gallery (1998); monograph produced by the Hermitage and the Musée d'Art Moderne de la Ville Paris (2006); studies by C. Roger-Marx (1952), J. Elliott et al. (1964), A. Fermigier (1970), and N. Watkins (1994).

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Bonnard, Pierre

 

Born Oct. 3, 1867, in Fontenay-aux-Roses; died Jan. 23, 1947, in Le Cannet. French artist.

At the end of the 1880’s, Bonnard studied at the Fine Arts School and the Julian Academy in Paris. He came under the influence of Japanese engravings and P. Gauguin. Bonnard’s landscapes, genre scenes, interiors, nudes, and still lifes (The Beginning of Spring [Little Fauns], 1903–04, Hermitage, Leningrad; and the wall panel Autumn; Garnering Fruit, 1912, Museum of Fine Arts, Moscow), which are related to the decorative qualities of latter-day impressionism (the works of C. Monet and A. Renoir), are distinguished by a lyrical, contemplative quality. His posters and color lithographs, with their stylized contours and sharp drawing, subtle views of Paris of the 1890’s painted in muted colors, and the very light pictures and decorative wall panels painted in the 1900’s and 1910’s, are close to the modern style. Bonnard’s works painted from the 1920’s through the 1940’s are notable for their warm and intense colors.

REFERENCE

Terrasse, A. Bonnard. Geneva, 1964.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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References in periodicals archive ?
Dining Room in the Country, 1913, Pierre Bonnard (1867-1947), oil on canvas, 164.5x205.7cm.
Les trois peintres majeurs que sont Pierre Bonnard, Henri Matisse et Pablo Picasso sont a l'honneur dans la 4e salle placee sous le theme des "Ateliers du Midi (1920-1960)" tandis que la 5e section met en avant "Le Foyer catalan (1920-1970)" ou les projecteurs sont braques sur le milieu artistique de Barcelone regroupant des oeuvres de Salvador DalE[degrees], Joan MirE et Antoni Tapies.
The others are a Francisco de Goya portrait of the Marquesa de Santa Cruz, Pierre Bonnard's "La Baignade Au Grand Temps", Bernard Buffet's "Vase of Red Chrysanthemums", Joan Miro's "L'Aube", and one of Camille Pissarro's "Jardin de Kew" series.
The others are a Francisco de Goya portrait of the Marquesa de Santa Cruz, Pierre Bonnard's "La Baignade Au Grand Temps", Bernard Buffet's "Vase of Red Chrysan themums", Joan Miro's "L'Aube", and one of Camille Pissarro's "Jardin de Kew" series.
This week the Mirror revealed the story of an Italian factory worker who discovered the PS20 paintings he bought at a lost property auction were actually by old masters Gauguin and Pierre Bonnard and worth PS25million.
Presentes officiellement comme des creations du Pere Ubu, ils sont en realite le produit de l'imagination collective de Jarry, du musicien Claude Terrasse, et du peintre Pierre Bonnard. Dans la grande tradition des almanachs populaires destines a promouvoir un courant de pensee ou une ideologie, les deux ouvrages renferment une multiplicite de textes heterogenes, dont le ton pincesans-rire et bien sur la presence quasi-permanente d'Ubu constituent les seuls denominateurs communs.
O'Connell enjoys painting "intimate things--people sitting around or brushing their teeth, doing ordinary things." Think an American Pierre Bonnard.
Among the founding members of the Nabi brotherhood were Edouard Vuillard, Pierre Bonnard, and Paul Ranson.
What was Pierre Bonnard thinking about on those hot dusty afternoons, staring into the corners of his room and making paintings of them?
It is perhaps instructive to compare the evolution of Vuillard's contemporary and close friend Pierre Bonnard, who was another painter of interiors and began, like Vuillard, as a member of the Nabis.