拍品專文
Bonnard's early reputation was partly based on his ability to convey an attractive dynamic image of modern life. John Rewald notes, "Bonnard set out to capture in his work what no other painter of his time had observed: the little incidents of Parisian life . . . Bonnard descended into the streets and the squares, watching with equal interest people, horses, dogs and trees . . . broad avenues, busy street vendors, cafs on sidewalks offered him their intricate patterns, their noisy agitation" (J. Rewald, Pierre Bonnard, New York, 1948, pp. 25-26).
It is noteworthy that Bonnard's images of urban life are not direct impressions, painted en plein-air, but are translations of his vision of the city, produced from memory in the intimacy of his studio.
The present work was once part of the prestigious art collection of Mr. Andr Meyer. Meyer first began collecting in France, where he built up an impressive collection which was then confiscated by the Germans during the Second World War when he fled to New York. Bonnard's Aprs le thtre was part of his second collection, which included works by Rembrandt, Picasso and Manet, all housed in his apartment in Manhattan's Carlyle Hotel. The collection now forms a nucleus of the holdings of the Metropolitan Museum of Art, New York.
It is noteworthy that Bonnard's images of urban life are not direct impressions, painted en plein-air, but are translations of his vision of the city, produced from memory in the intimacy of his studio.
The present work was once part of the prestigious art collection of Mr. Andr Meyer. Meyer first began collecting in France, where he built up an impressive collection which was then confiscated by the Germans during the Second World War when he fled to New York. Bonnard's Aprs le thtre was part of his second collection, which included works by Rembrandt, Picasso and Manet, all housed in his apartment in Manhattan's Carlyle Hotel. The collection now forms a nucleus of the holdings of the Metropolitan Museum of Art, New York.