Pierre Bonnard - Oil Painting Reproductions

All oil paintings of Pierre Bonnard (20 Century, French, Post-Impressionism) will be hand painted by our professional artists. Let HandmadePiece help you bring better museum quality art reproductions of Pierre Bonnard to home. Photo preview of the finished art will be offered before delivery, global free shipping.

1867 - 1947 • French • Painter • Nabi

"I am of no school. I am looking only to do something personal." - Pierre Bonnard

For several years Bonnard shared a studio with VUILLARD and DENIS. Like them, he was a member of the NABIS circle, and later of the FAUVEs, and as his comment above hints, he tried and incorporated many stylistic approaches, including ART NOUVEAU. "Intimate" is the word used to describe the mood of both Bonnard's and Vuillard's small paintings of everyday, middle-class life. Bonnard is the more complacent of the two, with images like those of a girl at a writing desk and children leaving school. Even when he painted outdoor scenes, he gave them an indoors intimacy. An example is the small painting on wood, slightly more than a foot high and 10 inches wide, Two Dogs 011 a Deserted Street (c. 1894). Set on a city street, the space nevertheless feels private and confined, as there is no sky and the buildings press the animals toward the front of the PICTURE PLANE. Tacking his canvas on a wall rather than using an easel, Bonnard usually painted from memory and from quick sketches in pen and ink and in pencil. He worked in his dining room or in a hotel room, but rarely in a studio because he was so intent on preserving the immediacy and spontaneity of inspiration. It is Bonnard's later landscapes, interiors, and nude figures that represent his claim to being a MODERN artist. Dining Room on the Garden ( c. 1993) is a scene in bright color that compresses the table and wall, trapping a female figure between them and isolating her, off to the side, from the window that looks outside to the garden. This picture contains echoes of MATISSE, especially a work like his Red Room (Harmony in Red), of 1908-09, to which it is similar in subject and sensation though not in color, for Bonnard's PALETTE is luminous rather than bold. He used geometry inventively to structure and stabilize a canvas, and sometimes his complex, busy patterns hide figures that emerge only after concentrated study of the canvas, or else quite by surprise. In 1945 Bonnard commented, "There is a formula that perfectly fits painting: lots of little lies for the sake of one big truth."