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Bonnard (World of Art) Paperback – May, 1998

3.9 out of 5 stars 8 customer reviews

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Editorial Reviews

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 an out of print or unavailable edition of this title.

Review

'Handsomely produced, good value and authoritative.' (Modern Painters) --This text refers to an alternate Paperback edition.
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Product Details

  • Series: World of Art
  • Paperback: 224 pages
  • Publisher: Thames & Hudson; 1St Edition edition (May 1998)
  • Language: English
  • ISBN-10: 0500203105
  • ISBN-13: 978-0500203101
  • Product Dimensions: 0.5 x 5.8 x 8.5 inches
  • Shipping Weight: 1 pounds
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #839,985 in Books (See Top 100 in Books)

Customer Reviews

Top Customer Reviews

By Elizabeth E. Brinton on June 28, 2000
Format: Hardcover
Nicholas Watkins comprehensive overview of the work of Bonnard deals with the rich interplay between the quiet domesticity and the radiant, transcendental quality of the painter's art. The book covers the early years of Bonnard's work and his use of photography. The phases of the artist's work are covered in clear chapters with references to the excellent reproductions. It is especially helpful to see Bonnard's small, seemingly offhand pencil sketches, alongside the paintings. This gives a sense of the trasformative and magical quality of his observations. The many reproductions are vibrant in comparison to those seen in some other books currently available.
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.
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Format: Paperback
I have been warped by a modern tendency to gross out our awareness with illness. Bonnard was not considered modern by other painters who were trying to produce a WOW without revealing much self. His paintings were an aid to memory of quite ordinary impulses to save particular moments as routine pleasures that make life interesting. While culture has become open to appreciating humor as a transition from old gender roles to new attempts at individual liberation, Bonnard as a high horse returns to an old cow treating an illness that tries not to show itself in public or in private for hours a day spent in water treatment in a tub. This is a life which ends with the artist seeing himself in the bathroom schmirror.

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.
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The scope of work presented in this book is very wide and complete, the ratio of text to pictures is very satisfying, and the pictures themselves are nice and large. However the quality of the reproductions has not impressed me at all, the colors that Bonnard is so famous for are washed out, and the prints appear blurry. Allover a rather disappointing book.
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Bonnard is hot and getting hotter. You can't pick up a novel without reading that one of the characters either has a Bonnard, is getting ready to steal a Bonnard, or simply desires one.
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.
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