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Lot Essay
Vue Panoramique (Dauphine) depicts the environs of Bonnard's family's estate "Le Grand-Lemps" which was situated near the Cote Saint-Andre in the province of Dauphine. The region was renowned for its special light and had been a favorite spot of Claude Monet's teacher Johan Barthold Jongkind. In Vue Panoramique (Dauphine) the planes, houses and trees are portrayed in terms of volumes and rhythms of line, accentuated by somber color. Bonnard's desire to express the emotions that the landscape aroused in him was a bold break from the lessons of the Academy which stressed the primacy of topographical accuracy. Bonnard proclaimed, "The talent will reveal itself by the way in which the lines are arranged. I do not belong to any school. I only try to do something that is personal, and I am trying, at this moment, to unlearn what I worked so hard to learn during four years at the Ecole des Beaux-Arts" (J. Daurelle, "Chez les jeunes peintres", L'Echo, Paris, 28 December 1891).
Japanese art continued to have a profound effect on Bonnard's work and it is evident in the freedom of handling in Vue Panoramique (Dauphine). Bonnard admired "the (Japanese) artist's right to dispense with nature imitation and to rearrange the data of reality, the images his eye has registered, in a new manner determined by his inner vision" (A. Terrasse, Bonnard, Geneva, n.d., p. 23), and he sought to adapt these principals to his own landscape painting. The result, as seen in the present painting, was a highly individual style that even today makes Bonnard's work distinguishable from that of his peers. According to John Rewald, "No other painter of his generation was to endow his technique with so much sensual delight, so much feeling for the undefinable texture of paint, so much vibration" (J. Rewald, Bonnard, exh. cat., New York, 1965, introduction).
Japanese art continued to have a profound effect on Bonnard's work and it is evident in the freedom of handling in Vue Panoramique (Dauphine). Bonnard admired "the (Japanese) artist's right to dispense with nature imitation and to rearrange the data of reality, the images his eye has registered, in a new manner determined by his inner vision" (A. Terrasse, Bonnard, Geneva, n.d., p. 23), and he sought to adapt these principals to his own landscape painting. The result, as seen in the present painting, was a highly individual style that even today makes Bonnard's work distinguishable from that of his peers. According to John Rewald, "No other painter of his generation was to endow his technique with so much sensual delight, so much feeling for the undefinable texture of paint, so much vibration" (J. Rewald, Bonnard, exh. cat., New York, 1965, introduction).