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:

СКАЧАТЬ come out into the open.” “He was the humorist among us,” Lugné-Poë recalled. “His light-hearted jollity and wit can be seen in his canvases”. “Wonderfully gifted, but too intelligent to let us feel his superiority, he was able to hide the spark of genius within him,” was Verkade’s recollection of him.

      Indolence (preliminary version)

      c. 1899

      Oil on canvas, 92 × 108 cm

      Josefowitz collection

      Nude with Black Stockings

      c. 1900

      Oil on panel, 59 × 43 cm

      Private collection, on loan to City

      of Sheffield Art Galleries

      Bonnard’s humour was perhaps not always taken as harmless. The Russian artist Alexander Benois said that his acquaintance with the painter in the late 1890s was short-lived because Bonnard’s specifically French esprit gouailleur (mocking wit) made him feel ill at ease. But Benois’s reaction is exceptional. There was nothing of the born joker about Bonnard, and as he grew older he became increasingly reserved, even somewhat distrustful of others.

      Man and Woman

      1900

      Oil on canvas, 115 × 72 cm

      Musée d’Orsay, Paris

      In fact, throughout his life, even when he was a member of the Nabi group, he required the company of others less than his own; or rather what he needed was to be left alone with his art. Natanson was right when he said that Bonnard’s misanthropy sprang from his innate kindness. But even in his youth Bonnard was probably a more complex personality than he seemed to his friends. His reserve and reticence hid traits which one could hardly suspect. In his self-portrait painted in 1889 (private collection, Paris) we see not a light-minded wit, but a watchful, diffident young man.

      Young Woman by Lamplight

      c. 1900

      Oil on canvas, 61.5 × 75 cm

      Musée des Beaux-Arts, Berne

      The still eyes hide thoughts one does not usually share with others. His acquaintances saw him as a fine, jolly fellow. And that was true enough. But was that all? With age, other hidden features of his nature became more evident. At thirty, when Benois met him, he was a different man from the one he was at the age of twenty: he was less light-hearted and showed less desire to surprise with paradoxes. So many of his early compositions were deliberately paradoxical.

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