Pierre Bonnard (1867-1947)

Intérieur de la maison du peintre au Cannet

Details
Pierre Bonnard (1867-1947)
Intérieur de la maison du peintre au Cannet
watercolour and gouache on paper
23¾ x 19¾in. (60 x 50cm.)
Executed in 1945
Provenance
Bought directly from the Artist by the present owner in 1945.
Literature
A. Vaillant, Bonnard, Paris, 1965 (illustrated p. 213).
F. Daulte, L'Aquarelle française au XX Siècle, Fribourg, 1969, p. 28 (illustrated in colour p. 29).
Exhibited
Neuchâtel, Musée des Beaux-Arts, Collections neuchâteloises, 1956, no. 183.
Vevey, Musée Jenisch, De Cézanne à Picasso, Maîtres de l'Aquarelle au XXe Siècle, 1962, no. 10.
Lausanne, Palais de Beaulieu, Chefs d'oeuvre des collections suisses de Manet à Picasso, 1964, no. 129.
Neuchâtel, Musée des Beaux Arts, Peintres figuratifs français du XXe, 1975, no. 27.
Tokyo, Galleria Nihonbashi Takashimaya, Pierre Bonnard, Oct.-Nov. 1980, no. 81. This exhibition later travelled to Kobe, Museo Provinciale, Nov.-Dec. 1980; Nagoya, Museo Municipale, Jan. 1981; and Fukuoka, Museo Municipale, Jan.-Feb. 1981.
Geneva, Musée Rath, Pierre Bonnard, April-June 1981, no. 81
Madrid, Fundacion Juan March, Bonnard, Sept.-Dec. 1983, no. 61. This exhibition later travelled to Barcelona, Sala de la Caixa, Dec. 1983-Jan. 1984.
Zurich, Kunsthaus, Bonnard, Dec. 1984-March 1985, no. 154.
Milan, Palazzo Reale, Pierre Bonnard, Oct. 1988-Jan. 1989, no. 47.
Lausanne, Fondation de l'Hermitage, Pierre Bonnard 1867-1947, June-Oct. 1991, no. 87.
London, Hayward Gallery, Bonnard at Le Bousquet, June-Aug. 1994, no. 55.

Lot Essay

The present work is a view of Bonnard's dining room at his house near Le Cannet in the South of France. Belinda Thomson writes, "Bonnard comes close to the flat patterned surface of Matisse in this strikingly simple gouache, exploiting the garish contrast of yellow/red so frequently found in his Le Bousquet interiors. His viewpoint is just inches to the right of the one adopted in Marthe in the Dining Room 1933 but here the dark blue wedge to the right suggests the outside was in darkness and the empty dining room is illuminated electrically - hence the brilliant bands of contrasting tone from the yellow-orange of the table's surface, through the cloth's local colour red to the purplish shadow beneath the table to the repeated band of yellow where the light once again hits the carpet." (Bonnard at Le Bousquet, London, 1994, p. 97).

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