Pierre Bonnard Lithograph "L'estampe et L'affiche"

Description: BORGO MIO: your primary source for Antiques, Rare Books, Fine Art & CollectiblesHome of FREE SHIPPINGpresents:Up for Sale is a very interesting lithograph by the famous French painter Pierre Bonnard Title of the work: "L'estampe et L'affiche" Dimensions: 12.5in x 9in (32x23cm)Sold unframedPrinted by: Mourlot in 1952 (posthumous)From the book "Bonnard Litographe"The original of this work dates back to 1897Conditions: excellentA Certificate of Authenticity will be included Beautiful work suitable for everyone!Buy with confidence as we guarantee the authenticity of all our itemsENJOY FREE SHIPPING WORLDWIDE!Ships from Italy Some biographical notes about the artist:Pierre Bonnard (Fontenay-aux-Roses, October 3, 1867 – Le Cannet, January 23, 1947) was a French painter.Son of a ministerial official, after graduating in law he decided to dedicate himself to painting: in Paris, in 1888 he followed the courses of the Accademia Julian and the Ecole des Beaux-Arts. In this period he met artists such as Paul Sérusier, Maurice Denis, Paul Ranson, Édouard Vuillard and Ker-Xavier Roussel, with whom he formed the group of Nabis (from the Hebrew nabiim, which means prophets, inspired) and with whom he exhibited at the Salon des Indépendants from 1891. The group of artists Nabis was officially born in October 1888, when Paul Sérusier showed them a small oil, a landscape painted in Pont-Aven on the lid of a cigar box (preserved today at the Musée d'Orsay in Paris), executed according to the advice of Paul Gauguin: it is considered the "talisman" and becomes the symbol of the group. Self-portrait, 1945 Like the other Nabis artists, Bonnard, who within the group retained the title of Nabi japonard, draws constant inspiration from the occult sciences and magic: esoteric research progressively distances him from realism and impressionist naturalism and brings him closer to a symbolist painting, arousing the admiration of the poet Guillaume Apollinaire. His stylistic models are the works of the Breton period of Paul Gauguin and the Japanese prints, from which he assimilates the attempt to deform reality by emphasizing the suggestive elements and loaded with symbolic meanings; his reaction to impressionism is based on a more meditated painting but with a more incisive use of color. Once he finished his military service, he resumed his Parisian activity in Montmartre, in an atelier shared with Denis and Vuillard; he exhibited for the Indépendants, achieving success with the billboard for France-Champagne and executing sketches of costumes and decorations. In the last years of the nineteenth century, Bonnard also devoted himself to the applied arts: the theatrical sets, lithographs and illustrations of the period are characterized by figures with sinuous rhythms that refer to Japanese models, art nouveau and the translation of the new lyrics of Mallarmé and Verlaine; in this period the artist develops an essentially decorative style, in which the lines create a complex network of arabesques and brightly colored spots. The perspective vision is abandoned and the forms are all brought to the same level, on the pictorial surface. His style arouses admiration and greatly affects Henri de Toulouse-Lautrec, who finds inspiration for his posters. Bonnard's pictorial language is totally different from that of the historical avant-gardes represented by his peers Matisse and Kandinskij: in the wake of the great exponents of impressionism, Bonnard declares in a writing that he wants to continue and develop their research to "surpass them in their naturalistic impressions of color". At the end of the century, greater attention belongs to the manifestation of the intimate affections of the characters, as in Mother and Son, the visions of Parisian cuts embellished with vital human presences, as in Les grands boulevards, the feminine portraits such as Alexandre Natanson that reveal an immediacy and lightness of brushstroke, a brilliant intuition for the chosen subjects and a capacity for autonomous and personal narrative construction. From 1900 onwards, Bonnard continued to exhibit with increasing success and made numerous trips in search of new subjects. In 1926 he bought a house in Le Cannet, on the French Riviera, where he stayed several times. The light and charm of the Midi and the utopian vision of its landscape as a projection of an ancient paradise mark a significant stylistic turn for Bonnard: his palette is enriched with more intense and vivid colors, among which the yellow of the Mediterranean sun and the intense blue that indicates the vastness of the open sea. In this period the artist goes through a new rethinking of Impressionism: the direct grip of reality is accompanied by an atmosphere of melancholic distance. His interest in intimate settings, in toilet scenes, in female nudes intensifies along with the other central themes of his art that continue to be landscapes, still lifes, but which are now becoming more joyful and at the same time heartbreaking. His works are characterized, in this period, by prominent light relationships between figures and objects, of extremely varied colors around the mother-of-pearl. In the fusion phase between traces of impressionistic luminescence and elaborated and studied themes, the key to reading and success of his works emerges, namely the symbiosis between figurative narration and vital rhythm. He died in Le Cannet, in the Maritime Alps, on January 23, 1947, 3 months and 20 days after crossing the 79-year-old mark.

Price: 249 USD

Location: Aliano

End Time: 2024-11-14T12:59:27.000Z

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