Pierre Bonnard

Succession Bonnard
Dreux collects ion, Paris
Galerie Schmit, Paris
Acquired from the above by the present owners in the 1980s

Galerie Schmit, Paris, Pour mon plaisir, 1982, no. 3, illustrated in the catalogue

Jean & Henry Dauberville, Bonnard, Catalogue raisonné de l'oeuvre peint, 1906-1919, Paris. 1968, vol. II, no. 865, illustrated p. 379

Very good condition. Canvas unlined; buckling slightly at lower right center. Layer of varnish on the surface. Pinhead-sized loss at center of top edge. Under UV: three nail-head sized dots of inpainting at extreme left edge and some strokes at bottom edge right of center.
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Through his involvement with the Nabis at the beginning of the century, Bonnard had grown accust.mes d to using decorative stylistic elements in his paintings, such as flattened patches of color and bold contours. In his depictions of the southern French landscape, his use of this technique was extraordinarily effective in conveying the variations in the terrain. In the present work, he uses interlacing patches of color to form the rushing stream and a small town in the distance.

From 1910 onwards, Bonnard spent an increasing amount of t.mes along the Mediterranean coast of France, finally purchasing a villa near Le Cannet, "Le Bosquet". Fascinated by the Mediterranean landscape, he spent much of his t.mes capturing the port of Cannes. Strongly taken by the luminosity and the atmosphere that engulfs this area, Bonnard explored the infinite variations of light, the progressive changes of volumes and contours, and he experimented with varying perspectives.

In 1928, André Lhote commended the artist in an enthusiastic article, "A never ending innovative organisation of the canvas, in which the grimness is hidden under nonchalant appearances, as well as the sonorous and complicated colour harmonies" (André Lhote, La Revue Française, January 1, 1929).