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拍品专文
In the early years of the Nabis movement, Bonnard established himself as the most sophisticated of the group of painters, which included Edouard Vuillard, Maurice Denis, Paul Sérusier, and Félix Vallotton. Bonnard's intimiste figurative pictures of the early 1890s are amongst the most celebrated works of the Nabis movement during which Bonnard became known for his paintings of contemporary Parisian life.
Bonnard's subjects were those of the flâneur: a chance glimpse of an attractive face, a moment of calm on a street corner, or indeed the opposite - a flurry of activity (see also La rue, lot 408 in this sale). In the present work Bonnard has reduced all the forms of the young girl and her dress into sinuously contoured, flat colour shapes. He wanted, as he said, "to see form simply as a flat silhouette" (quoted in T. Hyman, Bonnard, London 1998, p. 21). This manner of painting is purely synthetic and decorative, and therein lays the artist's ongoing debt, firstly to Gauguin and secondly, to Japanese printmaking.
The Japanese prints that the artist had seen at the exhibition organized by Siegfried Bing at the Ecole des Beaux-Arts in 1890 had a profound effect on the direction of his painting. Bonnard began to adopt many of the devices used by Japanese artists for his own work, to such an extent that his friends called him Le Nabi Japonard. The present work, painted at the height of his Nabi period, is indeed indebted to these Japanese prints in its linear perspective, decorative treatment of the surface, and over laying of patterns. The unusually long, narrow shape of the panel is another device of Bonnard's and lends itself to the close cropping of the scene around the elongated figure of the girl.
This approach completely abjures the traditional naturalism and illusionism of Western painting, and is non-Impressionist as well. It was controversial, and the elderly Impressionists disliked the Nabis' paintings. Some critics, however, were more sympathetic and forward-looking. Claude Roger-Marx, reviewing Bonnard's paintings in the 1893 Salon des Indépendants, wrote that the artist ''is one of the most spontaneous, most strikingly original temperaments... M. Bonnard catches instantaneous poses, he pounces upon unconscious gestures, he captures most fleeting expressions; he is gifted with the ability to select and quickly absorb the pictorial elements in any scene, and in support of this gift he is able to draw upon a delicate sense of humour, sometimes ironic, always very French" (quoted in J. Rewald, Pierre Bonnard, exh. cat., The Museum of Modern Art, New York, 1948, p. 24).
Bonnard's subjects were those of the flâneur: a chance glimpse of an attractive face, a moment of calm on a street corner, or indeed the opposite - a flurry of activity (see also La rue, lot 408 in this sale). In the present work Bonnard has reduced all the forms of the young girl and her dress into sinuously contoured, flat colour shapes. He wanted, as he said, "to see form simply as a flat silhouette" (quoted in T. Hyman, Bonnard, London 1998, p. 21). This manner of painting is purely synthetic and decorative, and therein lays the artist's ongoing debt, firstly to Gauguin and secondly, to Japanese printmaking.
The Japanese prints that the artist had seen at the exhibition organized by Siegfried Bing at the Ecole des Beaux-Arts in 1890 had a profound effect on the direction of his painting. Bonnard began to adopt many of the devices used by Japanese artists for his own work, to such an extent that his friends called him Le Nabi Japonard. The present work, painted at the height of his Nabi period, is indeed indebted to these Japanese prints in its linear perspective, decorative treatment of the surface, and over laying of patterns. The unusually long, narrow shape of the panel is another device of Bonnard's and lends itself to the close cropping of the scene around the elongated figure of the girl.
This approach completely abjures the traditional naturalism and illusionism of Western painting, and is non-Impressionist as well. It was controversial, and the elderly Impressionists disliked the Nabis' paintings. Some critics, however, were more sympathetic and forward-looking. Claude Roger-Marx, reviewing Bonnard's paintings in the 1893 Salon des Indépendants, wrote that the artist ''is one of the most spontaneous, most strikingly original temperaments... M. Bonnard catches instantaneous poses, he pounces upon unconscious gestures, he captures most fleeting expressions; he is gifted with the ability to select and quickly absorb the pictorial elements in any scene, and in support of this gift he is able to draw upon a delicate sense of humour, sometimes ironic, always very French" (quoted in J. Rewald, Pierre Bonnard, exh. cat., The Museum of Modern Art, New York, 1948, p. 24).