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拍品專文
Pierre Bonnard spent much of his childhood in Le Grand-Lemps, a town in the Isères, and in the 1890s he executed some of his greatest Nabi paintings at the Bonnard home there. These series of mostly small, windowless interior scenes depict members of his close family as they eat, sew and read within its walls.
After 1900, Bonnard would return often to the family home, spending many summers there, and during this period the artist's focus moved from indoors to the gardens and landscape of the house, which became an increasingly important and favoured subject in his oeuvre. Combining Impressionist techniques with a more formal pictorial composition, these landscapes reflect and are part of the development of the extraordinary colourism for which his later work is most noted.
Painted at the height of this period, Maison rose au treillage, Le Grande-Lemps is a tightly woven composition depicting a house set in a garden of rose bushes, boulders and tall, leafy trees, seen from the shade of the tree whose leaves frame the composition at the top edge. Charactertisically, the artist has eschewed a central focus point, rather leaving the eye to gaze across the colour planes with which the composition is put together.
After 1900, Bonnard would return often to the family home, spending many summers there, and during this period the artist's focus moved from indoors to the gardens and landscape of the house, which became an increasingly important and favoured subject in his oeuvre. Combining Impressionist techniques with a more formal pictorial composition, these landscapes reflect and are part of the development of the extraordinary colourism for which his later work is most noted.
Painted at the height of this period, Maison rose au treillage, Le Grande-Lemps is a tightly woven composition depicting a house set in a garden of rose bushes, boulders and tall, leafy trees, seen from the shade of the tree whose leaves frame the composition at the top edge. Charactertisically, the artist has eschewed a central focus point, rather leaving the eye to gaze across the colour planes with which the composition is put together.