Published by Silvana Editoriale. Text by Véronique Serrano, Marina Ferretti Bocquillon, Isabelle de Navas, Chantal Duverget.
Bonnard Among Friends looks at the friendship that Pierre Bonnard enjoyed with a number of other artists--Camoin, Manguin, Matisse, Monet, Rippl-Rónai and Vuillard among them--from the early days of the Nabis group to his later closeness with Matisse. Essays by Marina Ferretti Bocquillon, Isabelle de Navas and Véronique Serrano offer fresh perspectives on these amicable pictorial exchanges, and are presented alongside the hitherto unpublished letters Bonnard wrote to his longtime friend, the critic and photographer George Besson. Fully illustrated, this catalogue illuminates Bonnard’s milieu and its rich artistic vitality.
Published by Hatje Cantz. Text by Evelyn Benesch, Ulf Küster, et al.
Pierre Bonnard (1867–1947) concocted gentle deliriums of color in quiet domestic scenes: views of a table set for lunch, a garden view, a woman adjusting a bouquet or, most famously, the artist’s wife bathing, all infused with an infectious chromatic delight. “It seemed to me that it was possible to translate light, forms and character using nothing but color,” he once wrote, “without recourse to values.” Bonnard lavishes his domestic scenes with a palpable tenderness that later led to his style (and that of his colleague Eduoard Vuillard) being dubbed “Intimiste.” In the 1880s Bonnard was a founding member of the Nabi group, along with his close friends Paul Sèrusier, Maurice Denis, Paul Ranson and Edouard Vuillard. Their Post-Impressionist aesthetic favored emotional tangibility over observational truth, and their paintings reveled in heightened effects of pattern, prompted by a shared predilection for Japanese decorative arts and prints. In Bonnard’s case, this predilection led to an experimentation with many forms, such as lithography, illustration, interior design and photography. For this catalogue and the exhibition it accompanies, the Fondation Beyeler has gathered an extraordinary selection of Bonnard’s paintings from institutions and private collections around the world, compiling an ideal introduction to Bonnard’s life-affirming vision.
Published by Ludion. Essays by Yve-Alain Bois, Sarah Whitfield and Georges Rocque.
Among those painters who incontestably left their mark on twentieth-century art, Bonnard rises to the top again and again. Museums, scholars and viewers regularly return to his oeuvre for reinterpretation, passionate and contradictory, of what it means to be Modern. In having followed a very personal calling--literally and figuratively interior, particularly compared to the work of friends like Matisse--Bonnard created work as innovative as any of his contemporaries'. His recurring themes--the nude (both classical and erotic), the landscape, domestic life, and the self-portrait--evolve with him from the nineteenth century to the twentieth, from Paris to the south of France, alive with constant reinvention. Although for Bonnard the subject was always important, his work navigates a sophisticated dialectic between the givens of perception and memory, between the image before our eyes and all that it suggests. This substantial reference includes work from the Hermitage and the Museum of Modern Art of the City of Paris, which sponsored its publication. Contributors include Yve-Alain Bois, Sarah Whitfield, and Georges Roque. Photographs from Dina Verny and Henri Cartier-Bresson among others document the era and Bonnard's models as he saw them.
BOOK FORMAT Clothbound, 8.75 x 10.5 in. / 400 pgs.
PUBLISHING STATUS PUB DATE 4/1/2006 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2006 p. 5
PRODUCT DETAILS ISBN 9789055446049TRADE LIST PRICE: $60.00 CDN $70.00
AVAILABILITY Not Available
STATUS: Out of print | 5/1/2009
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