Bonnard. Nathalia Brodskaya
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Название: Bonnard
Автор: Nathalia Brodskaya
Издательство: Parkstone International Publishing
Жанр: Иностранные языки
Серия: Mega Square
isbn: 978-1-78042-830-2
isbn:
Behind the Fence
1895
Oil on cardboard, 31 × 35 cm
Hermitage, St. Petersburg
Some distance away, Denis is bustling along with a folder under his arm. Towards them, from the opposite direction, comes Toulouse-Lautrec, swinging a thick walking-stick. Toulouse-Lautrec was well disposed towards Bonnard and Vuillard. From time to time he would take their paintings, hire a carriage and drive to the art-dealers whom he knew personally. It was not easy to get them interested, though.
Child Eating Cherries
1895
Oil on board, 52 × 41 cm
National Gallery of Ireland, Dublin
Toulouse-Lautrec greatly admired Bonnard’s poster France-Champagne published in 1891. Bonnard took the artist to his printer, Ancours, in whose shop Toulouse-Lautrec’s Moulin Rouge was printed later the same year followed by his other famous posters. The poster France-Champagne, commissioned by the wine-dealer Debray in 1889, was to play a special role in Bonnard’s life. This work brought him his first emoluments.
The Carriage Horse
1895
Oil on wood, 30 × 40 cm
National Gallery of Art, Washington
The sum was miserably small compared with the earnings of the then much-feted artist Jean Meissonnier, but it convinced Bonnard that painting could provide him with a living. This small success coincided with failure in his university examinations. Perhaps he was deliberately burning his boats, abandoning a career in business for the sake of art. On 9 March 1891 he wrote to his mother: “I won’t be able to see my poster on the walls just yet. It will only appear at the end of the month. But as I finger the hundred francs in my pocket, I must admit I feel proud.”
The Little Laundry Girl
1896
Lithograph in 5 colours, 30 × 19 cm
At about the same time he sent five pictures to the Salon des Indépendants. At the close of 1891 he exhibited his works together with Toulouse-Lautrec, Bernard, Anquetin and Denis at Le Barc de Boutteville’s. When a journalist from Echo de Paris, who interviewed the artists at the exhibition, asked Bonnard to name his favourite painters, he declined to do so. He said that he did not belong to any school. His idea was to bring off something of his own and he was trying to forget all that he had been taught at the Ecole des Beaux-Arts.
The Bridge
1896–1897
Lithograph in 4 colours, 27 × 41 cm
One more event in 1891 played an important role in Bonnard’s life. The journal Revue Blanche moved its editorial office from Brussels to Paris. Bonnard and other members of the Nabi group soon established a good relationship with the publisher Thadée Natanson, another former student of the Lycée Condorcet. Natanson managed to get the most gifted artists, writers and musicians to work for him. The frontispieces of the journal were designed by Bonnard and Vuillard; inside there were the latest poems of Mallarmé, works by Marcel Proust and Strindberg, Oscar Wilde and Maxim Gorky; Debussy also contributed. On the pages of the Revue Blanche literary critics discussed the works of Leo Tolstoy. Natanson himself devoted his first article to Utamaro and Hiroshige. Without exaggeration, the Revue Blanche was the best French cultural periodical of the 1890s. The atmosphere in its editorial office, which the Nabis often visited, was stimulating.
The Big Garden
c. 1897-1898
Oil on canvas, 167.5 × 220 cm
Musée d’Orsay, Paris
Landscape in the Dauphiné
c. 1899
Oil on panel, 45.5 × 56 cm
Hermitage, St. Petersburg
Natanson’s personal support for the artists was also of no small importance. He was as young as the artists whom he backed and was not afraid to follow his own inclinations. Even Natanson’s friends later admitted that at times they had doubts about whether they could trust a person who decorated his home with works by Bonnard and Vuillard.
Natanson’s printed reminiscences of Bonnard give perhaps one of the best pen-portraits of the artist. “Bonnard, when I first met him, was a gaunt young man who sometimes stooped.
The Meal
1899
Oil on panel, 30.5 × 38.7 cm
Private collection
He had very white slightly protruding front teeth, was timid and short-sighted. His dark brown rather thin side-whiskers curled slightly; perched on his nose, very close to his eyes with the dark pupils, was a small pince-nez in an iron frame, as was the fashion at the close of the nineteenth century. He spoke little, but was always ready to show the portrait of his fat grandmother in whose house he lived when he first came to Paris. The portrait had been painted in the Dauphiné and depicted the old lady with several white hens pecking at some feed close to her skirts.
Lunch
1899
Oil on board, 55 × 70 cm
Stiftung Sammlung E.G. Buhrle, Zürich
My new friend behaved in a very guarded manner when it came to discussing theories in painting, but he readily spoke about Japanese prints of which he was very fond. At that time such a taste could be easily satisfied. He also preferred checked fabrics far more than any other kind. His smile, with his white teeth showing slightly, was so winning that you wanted to see it again and to hold on to it. You wanted to catch the moment when it appeared. Bonnard smiled out of politeness, СКАЧАТЬ