Bonnard. Nathalia Brodskaya

Bonnard’s art highly in contrast to his own admirer Zervos, who had published a complete catalogue of his paintings and drawings. When Matisse set eyes on that issue of Cahiers d’Art, he flew into a rage and wrote in the margin in a bold hand: “Yes! I maintain that Bonnard is a great artist for our time and, naturally, for posterity.” Henri Matisse, Jan. 1948.

      France-Champagne

      1891

      Lithograph in 3 colours, 78 × 50 cm

      Matisse was right. By the middle of the century Bonnard’s art was already attracting young artists far more than was the case in, say, the 1920s or in the 1930s. Fame had dealt strangely with Bonnard. He managed to establish his reputation immediately. He never experienced poverty or rejection unlike the leading figures of new painting who were recognised only late in life or posthumously – the usual fate of avant-garde artists in the first half of the twentieth century.

      Intimacy

      1891

      38 × 36 cm

      Musée d’Orsay, Paris

      The common concept of peintre maudit (the accursed artist), a bohemian pauper who is not recognised and who readily breaks established standards, does not apply to Bonnard. His paintings sold well. Quite early in his career he found admirers, both artists and collectors. However, they were not numerous. General recognition, much as he deserved it, did not come to him for a considerable time. Why was it that throughout his long life Bonnard failed to attract the public sufficiently? Reasons may be found in his nature and his way of life. Bonnard rarely appeared in public, even avoiding exhibitions.

      Tea in the Garden

      1891

      Oil, black ink and pencil on canvas, 38 × 46 cm

      Private collection

      For example, when the Salon d’Automne expressed a desire in 1946 to arrange a large retrospective exhibition of his work, Bonnard responded to this idea in the following way: “A retrospective exhibition? Am I dead then?” Another reason lay in Bonnard’s art itself: not given to striking effects, it did not evoke an immediate response in the viewer. The subtleties of his work called for an enlightened audience. There is one further reason for the public’s cool attitude towards Bonnard. His life was very ordinary; there was nothing in it to attract general interest.

      The Croquet Game

      1892

      Oil on canvas, 130 × 162 cm

      Musée d’Orsay, Paris

      In this respect, it could not be compared with the life of Van Gogh, Gauguin or Toulouse-Lautrec. Bonnard’s life was not the stuff legends are made of. And a nice legend is what is needed by the public, which easily creates idols of those to whom it was indifferent or even hostile only the day before. But time does its work. The attitude towards Bonnard’s art has changed noticeably in recent years. The large personal exhibitions which took place in 1984-85 in Paris, Washington, Zurich and Frankfurt-am-Main had a considerable success and became important cultural events.

      Portrait of Berthe Schaedlin

      1892

      Oil on cardboard, 31 × 16.5 cm

      Galerie Daniel Malingue, Paris

      What was Pierre Bonnard’s life like? He spent his early youth at Fontenay-aux-Roses near Paris. His father was a department head at the War Ministry, and the family hoped that Pierre would follow in his father’s footsteps. His first impulse, born of his background, led him to the Law School, but it very soon began to wane. He started visiting the Académie Julian and later the Ecole des Beaux-Arts more often than the Law School. The cherished dream of every student of the Ecole was the Prix de Rome.

      Family Scene

      1893

      Colour lithograph, Hermitage, St. Petersburg

      Bonnard studied at the Ecole for about a year and left it when he failed to win the coveted prize. His Triumph of Mordecai, a picture on a set subject which he submitted for the competition, was not considered to be serious enough. Bonnard’s career as an artist began in the summer of 1888 with small landscapes painted in a manner which had little in common with the precepts of the Ecole des Beaux-Arts. They were executed at Grand-Lemps in the Dauphiné. Bonnard’s friends – Sérusier, Denis, Roussel and Vuillard – thought highly of these works.

      La Revue Blanche

      1894

      Lithograph in 4 colours, 80 × 62 cm

      Made in the environs of Grand-Lemps, the studies were simple and fresh in colour and betrayed a poetic view of nature reminiscent of Corot’s.

      Dissatisfied with the teaching at the Ecole des Beaux-Arts and at the Académie Julian, Bonnard and Vuillard continued their education independently. They zealously visited museums. During the first ten years of their friendship, hardly a day went when they did not see each other. And yet they addressed one another with the formal “vous”, while Bonnard addressed other members of the Nabi group with “tu”.

      The White Cat

      1894

      51.5 × 33 cm

      Musée d’Orsay, Paris

      In the 1890s Bonnard was by no means a recluse. He loved to go for long walks with Roussel, even listened with pleasure to Denis’s lengthy tirades, although he remained rather taciturn himself. He was sociable in the best sense of the word. One of his humorous reminiscent drawings (1910) shows the Place Clichy, the centre of the quarter where young artists, light-hearted and somewhat bohemian, usually congregated. Bonnard, Vuillard and Roussel are unhurriedly crossing the square.

      Behind the Fence

      1895

      Oil on cardboard, 31 × 35 cm

      Hermitage, St. Petersburg

      Some distance away, Denis is bustling along with a folder under his arm. Towards them, from the opposite direction, comes Toulouse-Lautrec, swinging a thick walking-stick. Toulouse-Lautrec was well disposed towards Bonnard and Vuillard. From time to time he would take their paintings, hire a carriage and drive to the art-dealers whom he knew personally. It was not easy to get them interested, though.

      Child Eating Cherries

      1895

      Oil on board, 52 × 41 cm

      National Gallery of Ireland, Dublin

      Toulouse-Lautrec greatly admired Bonnard’s poster France-Champagne published in 1891. Bonnard took the artist to his printer, Ancours, in whose shop Toulouse-Lautrec’s Moulin Rouge was printed later the same year followed by his other famous posters. The poster France-Champagne, commissioned by the wine-dealer Debray in 1889, was to play a special role in Bonnard’s life. This work brought him his first emoluments.