拍品专文
Although Bonnard routinely painted interiors during the first decade of the century, it is only around 1910 that still-life appears in his work as the central motif. Throughout the three decades which followed, Bonnard executed numerous floral still-lifes, seizing upon the delicate branches of mimosa in the present work, for example, as the ideal vehicle for his aesthetic explorations. Describing Bonnard's work from this period, Paul Signac wrote,
[He] makes his own everything that nature can offer to his pictorial genius. In the little sketchbook from which he is never separated, or better still in his memory, he jots down pell-mell all that life presents to him. He understands, loves and expresses everything he sees: the pie for dessert, the eye of his dog, a ray of sunlight coming through a window, the sponge in his bathtub. Then, wholly by instinct, without even attempting to give an appearance of reality to these illegible objects, he expresses his love of life in magnificent pictures, always novel in composition, which have the unexpected flavor of unfamiliar fruits. (quoted in J. Rewald, Bonnard, New York, 1948, p. 40)
Critic Nicolas Watkins has discussed the effect of this working method:
Each painting begun in the memory of a specific visual experience was transmuted through nostalgia into an earthly paradise. Time lost its meaning in a myriad of marks making up the surface. Bonnard wanted somehow to capture nature, not describe it literally... Without noticing we are drawn into the unfolding logic of a painting... Objects are broken up by light in patterns of colour across the surface, and the dialogue between object and colour, colour and pattern, pattern and surface, surface and pictorial depth becomes part of the content of the painting. (N. Watkins, Bonnard, London, 1994, pp. 168 and 171)
[He] makes his own everything that nature can offer to his pictorial genius. In the little sketchbook from which he is never separated, or better still in his memory, he jots down pell-mell all that life presents to him. He understands, loves and expresses everything he sees: the pie for dessert, the eye of his dog, a ray of sunlight coming through a window, the sponge in his bathtub. Then, wholly by instinct, without even attempting to give an appearance of reality to these illegible objects, he expresses his love of life in magnificent pictures, always novel in composition, which have the unexpected flavor of unfamiliar fruits. (quoted in J. Rewald, Bonnard, New York, 1948, p. 40)
Critic Nicolas Watkins has discussed the effect of this working method:
Each painting begun in the memory of a specific visual experience was transmuted through nostalgia into an earthly paradise. Time lost its meaning in a myriad of marks making up the surface. Bonnard wanted somehow to capture nature, not describe it literally... Without noticing we are drawn into the unfolding logic of a painting... Objects are broken up by light in patterns of colour across the surface, and the dialogue between object and colour, colour and pattern, pattern and surface, surface and pictorial depth becomes part of the content of the painting. (N. Watkins, Bonnard, London, 1994, pp. 168 and 171)