“Like many of the young artists who were affiliated with the modernist avant-garde on the cusp of the 20th century, Bonnard was a quick and early starter, and he made some remarkable pictures before he was only twenty-five. Executed circa 1890, Paysage stylisé (Le Grand-Lemps) represents the cutting-edge style of a new anti-naturalist tendency in the arts, derived from the Symbolist movement in literature led by the poet Stéphane Mallarmé, whose creed was “to paint, not the thing itself, but the effect it produces” (quoted in H. Weinfield, trans., Stéphane Mallarme, Collected Poems, Berkeley, 1994, p. 169).“

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