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Bonnard (Couleurs des maitres) Unknown Binding – 1944
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From Library Journal
Watkins (Matisse, Oxford, 1985) argues for a reappraisal of Bonnard, not as the last of the Impressionists but as a formalist and decorative painter in the 20th century. Discussing his affiliation with Vuillard and the other Nabis, the author draws from the artist's work to demonstrate the influences of Gauguin, Japanese prints, and the later Degas. Withdrawing from the Paris of the 1890s into his own rich, personal, painterly iconography, Bonnard succeeded in creating intimate interiors, and his identification with his more analytical contemporary, Matisse, is apparent. Other French artists, such as Braque, whose style can be seen in some of Bonnard's still lifes, is not named, although the Cubists are mentioned as an interest. It does seem a bit stretched when Watkins implies that Bonnard influenced Monet. Overall, however, the book is well researched and contains many illustrations emphasizing Bonnard's deep involvement with color. An interesting contemporary view for art history scholars, this is recommended for academic collections.
Ellen Bates, New York
Copyright 1994 Reed Business Information, Inc. --This text refers to the Calendar edition.
"Handsomely produced, good value and authoritative"-Modern Painters --This text refers to the Calendar edition.
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Top Customer Reviews
This book has great photos and the biography, which definitely belongs with the art, is extremely well written. This is a fine book and I like it so much that when my son, who is an artist, wanted to borrow it, I simply bought him his own copy. I keep mine for myself. Selfish, but true..and tells you how much I treasure it.
Bonnard fell between eras, as a post impressionist, always up against the fame of the cubists, and always compared (unfavorably, and unfairly) with the genius of Picasso. He was a quiet force, a colorist of the highest order, bringing us the light of southern France forever. This book is a great gift for an art lover, a treat for the eyes and the mind.
Political spying on those who display the subversion of internal enemies rarely, if ever, produces such a collective awareness of the need to avoid familiarity with here comes everybody meeting you don't even know me. There was a novel, Contre-Jour, by Gabriel Josipovici, about the bathroom being a place of refuge for Marthe, mentioned on page 131, which has a portrait of Marthe in black and white. The tub was white on the next page, The Bath, 1925, and a radiator was white on page 134 and page 136 before we finally get to see a color Nude in the Bathroom, 1931, on page 145.
The section with the title Bonnard as Selbst-Kunst (pp. 177-179) which ends with the desire for the collapse of distinction -- between the different classes of objects, as between those objects and the self. They must all be made one.
Art as an anoetic anoesis, pure sensation or emotion, is in opposition to social fear of anoia, anoesia, not understanding, as Freudian as oneiric, oneiromancy, divination through dreams. Oneiro was the ancient Greek god of dreams. The Onion is the world's best news humor.