“…Watkins has described the process by which Bonnard mediated and transposed these observations of the landscape back in his studio: “Paintings begun in the memory of a visual experience encapsulated in a drawing were transformed through color into a rich, immensely varied surface made up of a tapestry of brushstrokes, glazes, scumbles, impasto, and highlights of pentimenti” (op. cit., p. 171).”In 1940, Bonnard reported to Vuillard, “I am very much interested in landscape, and my strolls are full of considerations in this regard. I am about to understand this land and no longer try to find what isn’t there, since it conceals tremendous beauties. To establish the different conceptions to which nature gives birth from this perspective, that is what really interests me” (quoted in Pierre Bonnard: Observing Nature, exh. cat., National Gallery of Australia, Canberra, 2003, p. 62). Watkins has described the process by which Bonnard mediated and transposed these observations of the landscape back in his studio: “Paintings begun in the memory of a visual experience encapsulated in a drawing were transformed through color into a rich, immensely varied surface made up of a tapestry of brushstrokes, glazes, scumbles, impasto, and highlights of pentimenti” (op. cit., p. 171).

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Les Nabis on Wikiwand

Pierre Bonnard on Wikiwand

Japonisme on Wikiwand

The Nabis at The Art Story

Pierre Bonnard at The Art Story

Bonnard, Pierre, Colta Feller Ives, Helen Emery Giambruni, and Sasha M. Newman. 1989. Pierre Bonnard, the graphic art. New York: Metropolitan Museum of Art. http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/92079 , (accessed 8 Nov 2018).

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Les Nabis At Sunnyside

Pierre Bonnard at wikimedia

Pierre Bonnard at Christie’s

Art by Theme at Giverny Museum of Impressionism

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