Armistice

细节

Pierre Bonnard (1867-1947)
Armistice
signed 'Bonnard' (upper left)
oil on canvas
23½ x 335/8in. (59.5 x 85.3cm.)
Painted in 1918

来源

Galerie Bernheim-Jeune, Paris, by whom acquired from the artist in 1919.
Max Pellequer, Paris.
Ambroise Vollard, Paris.
Robert de Galéa, Paris, and thence by descent to the present owner.

出版

J. & H. Dauberville, Bonnard, Catalogue raisonné de l'oeuvre peint, vol. II, 1906-1919, Paris 1968, no. 937 (illustrated p. 432).

展览

Tokyo, Galerie Yoshii, Bonnard, Peintre de couleurs merveilleuses, 1973, no. 23.
Saint-Paul-de-Vence, Fondation Maeght, July-December 1975.
Tokyo, Nihonbashi Takashimaya Art Galleries, Pierre Bonnard, October-November 1980, no. 37 (incorrectly titled); this exhibition later travelled to Kobe, Le Musée Préfectoral d'Art Moderne, Hyogo; Nagoya, Le Musée Préfectoral d'Art, Aichi; Fukuoka, Le Musée Municipal d'Art.
Geneva, Musée Rath, Pierre Bonnard, April-June 1981, no. 39 (incorrectly titled).
Madrid, Fundaciòn Juan March, Bonnard, September-November 1983, no. 25; this exhibition later travelled to Barcelona, Sala de Exposiciones, Caixa de Barcelona.
Lausanne, Fondation de l'Hermitage, Pierre Bonnard, June-October 1991, no. 43 (incorrectly titled).
Denmark, Louisiana Museum of Modern Art, Pierre Bonnard, September 1992-January 1993, no. 49.
Paris, Galerie Schmit, Pierre Bonnard, May-July 1995, no. 29. Paris, Galerie Schmit, Maîtres français du XIXe-XXe siècles, May-July 2000, no. 3.

注意事项

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍品专文

Nocturnal scenes had become so commonplace by the end of the nineteenth century that Paul Desjardins devoted to them an entire sub-section of his review of the Salons for the Gazette des Beaux-Arts, entitling it 'Les Heures, principalement du soir et de la nuit'. Bonnard had explored the Nocturne and its softening effects on scenes of Paris street life as early as 1895. His approach had been to create a duality of light and darkness by punctuating the night with street lights or with gaily dressed characters who appear starkly against a dark background (fig. 1). Bonnard used the same technique in his intimist interiors; like Vuillard who subsequently developed the subject and made it his own, he would articulate the dim interior with elements of artificial light, creating pockets of brightness in an otherwise subdued setting.

By the time of the armistice agreement of 1918 which marked the end of the Great War, Bonnard's use of colour and light had undergone a radical change. He had embraced the light and atmosphere of the South of France during his second trip in 1909 and, as a result, his palette had become bolder and he had adopted the strong colouring that characterises his later style. Armistice concentrates less on darkness than on the depiction of night through the use of colour. The only darkness is the small area of sky at the upper centre; the rest of the composition relies on subdued, but strong colours, from the orange of the lanterns and the carousel to the blues of the soldiers' uniforms as they dance in the streets.