” …“On the dining room table stood baskets with tall handles of plaited osier or raffia,” recalled Bonnard’s grand-nephew Michel Terrasse, a frequent visitor to Le Bosquet, “somewhere to put the peonies and mimosa, the oranges, lemons, and persimmons gathered, with the figs, from the garden” (op. cit., 1988, p. 14).
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Departing from the Impressionists’ deftly rendered succession of fleeting moments, Bonnard has imbued these familiar and unassuming still-life objects, the stuff of his everyday life, with an unexpected air of enchantment–un arrêt du temps (“a stilling of time”), he called it. Light enters the room from an unseen window at the left and suffuses the fruit, lending a velvety radiance to peaches and pears alike. The white tablecloth acts as a staging ground for a full spectrum of other colors, from fiery gold to deep magenta and teal…. “Bonnard’s colors came to embody the emerging, meeting, and passing of forms in the transient world,” Dita Amory has written, “His Mediterranean palette and dazzling light added further abstraction to a corpus of paintings that became less obviously descriptive and more metaphoric over time” (exh. cat., op. cit., 2009, pp. 22-23).
See More
Art by Theme at Giverny Museum of Impressionism
Read More
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.
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