- Pierre BonnardOur PickBy Evelyn Benesch, Ulf Kuster, Pierre Bonnard
- Pierre Bonnard: Early and LateOur PickBy Elizabeth Hutton Turner, Pierre Bonnard, Nancy Wolsk
- Interpreting Bonnard: Color and LightBy Nicholas Watkins
- Pierre Bonnard: The Work of Art, Suspending TimeBy Yves-Alain Bois, Pierre Bonnard
- Pierre Bonnard: The Late Still Lifes and InteriorsBy Dita Amory, Jack Flam, Rémi Labrusse, Jacqueline Munck, Rika Burnham
Important Art by Pierre Bonnard
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.
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.
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.