This volume accompanied a major international retrospective of Pierre Bonnard at London's Tate Gallery and the New York Museum of Modern Art, featuring loans from numerous public and private collections. The book includes new research by Sarah Whitfield.
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Editorial Reviews
Amazon.com Review
It seems somehow revolutionary that a turquoise-blue painting graces the cover of Bonnard, the catalog accompanying a 1998 exhibit at the Museum of Modern Art in New York City. The color of the endpapers--deep yellow--tells readers that even the book designers know with which end of the color spectrum most viewers associate this sensuous painter. The translucent-looking, sun-struck, golden woman in the bathtub--the artist's wife and favorite model--is so emblazoned on our memories that it takes an exhibition like the one documented in this book to remind viewers of Bonnard's extraordinary range as a colorist.
The early, intimate, Nabi paintings are often dark, with figures that stand out like candle flames in shadowy interiors. But Bonnard's use of umber, sienna, and various blacks--occasionally in the shape of a dachshund--is forever part of what makes those brilliant reds and oranges sing. Even 60 years into his career, the painter gave full range to his palette, balancing the most highly colored canvasses with others of pale, soft grays. Those readers who have been succored on the 1984 Phillips Collection catalogue will find MoMA's new one every bit as nourishing.
Review
In meticulous, often scientific, detail he decodes Bonnard's use of color, perspective and other devices in his optical bag of tricks. -- The New York Times Book Review, Scott Veale
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14 of 14 people found the following review helpful:
5.0 out of 5 stars
Beautifully produced and illustrated,
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This review is from: Bonnard (Hardcover)
Produced to accompany the Exhibition "Bonnard" organised by the Tate Gallery London in conjunction with the Museum of Modern, Art New York, 1998. There are two essays: Fragments of the Identical World, by Sarah Whitfield, author and curator of the exhibition; and Seeing Bonnard by John Elderfield, author and Chief Curator at Large at The Museum of Modern Art, New York. The Catalogue commences on page 53 and runs for just over 100 pages. The book concludes with an illustrated chronology, selected bibliography and an index.
The Catalogue is beautifully presented; each entry has a double page with the painting reproduced in full colour occupying a full page, and on the facing page (usually) a brief commentary along with relevant sketches or other works in black and white (although the last sixteen entries are show two to a page). There are about 115 colour plates of Bonnard's work and nearly 150 black and white images making up the accompanying sketches and photographs and the illustrations to the text. This is a beautifully produced and presented book, the reproductions of the paintings are superb, and having the accompanying comments and sketches on the same spread is most useful. 12" x 9.5" (30.5 cm x 24.1cm) 269 pages. Published 1998. ISBN 1854372432. Hardback
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Bonnard,
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This review is from: Bonnard (Hardcover)
This is a quality book with beautiful pictures of the artist's work that inspire one to paint. The book arrived in a timely fashion and was in perfect shape.
18 of 35 people found the following review helpful:
5.0 out of 5 stars
BONNARD THE MASTER OF COLOR,
By ALAIN ROBERT (ST-HUBERT,QUEBEC) - See all my reviews
This review is from: Bonnard (Hardcover)
Having missed the 1998 NEW YORK exibition because i live 400 milles from the city, i could catch up with that book that i found well done. PIERRE BONNARD is one of the artist i admire the most. For those of you unfamiliar with him, i suggest you buy ANTOINE TERRASSE's book. It's not to expensive and it is worth it.His works often have a dreamlike atmosphere to them ,and his wife MARTHE has been represented in the bathtub many times.Among BONNARD's friends were the NATHANSON:THADEE the editor of the REVUE BLANCHE and his beautiful WIFE MISIA, who was fond of artists;VUILLARD was his lifelong friend, and PIERRE had a long correspondance with HENRI MATISSE. When they met, they used to compare eachother's works.
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