Pierre Bonnard
Pierre Bonnard, The Dining Room in the Country, 1913, Minneapolis Institute of Art, The John R. Van Derlip Fund (54.15). Photo: Minneapolis Institute of Art
Pierre Bonnard is one of the most beloved painters of the twentieth century, celebrated for his use of colour to convey an exquisite sense of emotion. His close friend Henri Matisse declared that Bonnard was ‘a great painter, for today and definitely also for the future’. Pierre Bonnard, with more than 100 works by the artist, presents the iridescent paintings of Bonnard within immersive scenography by Paris-based designer India Mahdavi.
Paintings, drawings, photographs, folding screens and early cinema will bring modern France to life with startling beauty and vivid colour. Developed in partnership with Musée d’Orsay, Paris, the exhibition is largely drawn from the museum’s impressive holdings of works by Bonnard alongside significant loans from other collections in France and beyond.
The first sections of the exhibition explore Bonnard’s central role within the Nabi circle of artists, as well as his interaction with the contemporary worlds of music and theatre. Calling themselves the Nabis, the young artists Pierre Bonnard, Maurice Denis, Édouard Vuillard, Paul Ranson, Paul Sérusier and Félix Vallotton banded together in the early 1890s, and saw themselves as the Prophets of a new art that they envisaged encompassing every sphere of modern life – interior design, furniture, fans and textiles, stained glass, and commercial illustration and advertising. Paintings by Vuillard and Vallotton will be shown alongside prints by Denis.
During this period, Bonnard recorded daily life in the streets of Paris in an immediate and startlingly close manner, observing what he called the ‘theatre of the everyday’. Influenced by his friendship with the pioneering filmmakers, Auguste and Louis Lumière, he became one of the first artists to draw inspiration from the new medium of cinema in his art. He also embraced photography and cast his artist’s eye over his family circle to capture moments of unexpected movement and impromptu composition. Films by the Lumière Brothers are screened alongside dynamic urban scenes Bonnard produced during this period.
Bonnard’s meeting with Maria Boursin (who chose to be called Marthe de Méligny) in 1893 led to his own domestic intimacy, culminating in a remarkable series of nude studies, both lithographs and paintings. As Bonnard and de Méligny shared their life together, this led to longer periods spent in the countryside for the latter’s health. Alongside his intimate studies of their domestic life, Bonnard undertook campaigns of landscape painting, engaging with the legacy of French Impressionism. Visits to the south of France from 1909 onwards brought a new intensity of colour to Bonnard’s art, ‘this colour that drives one wild’ as he put it. A rich selection of the warm and vibrant interior scenes and still lifes recorded by Bonnard following his move to the south of France form an important part of the exhibition. In the last decades of his working life, Bonnard created works of poignant introspection – self portraits and scenes of his daily life – and others of majestic scale and joyous colour, celebrating the luminous landscapes around Le Cannet, the town near Cannes on the French Riviera where he and de Méligny lived.
The exhibition website includes further information, links to thematic displays and a video explaining how Mahdavi has taken her contemporary design lens to reimagine the display of his works for our unique exhibition.