.jpg?w=1)
拍品專文
In 1912 Pierre Bonnard purchased a small property called "Ma Roulotte" in Vernonnet near Vernon. No doubt his eye as a colorist drew him to the valley because of the rich, jewel-like tones of its fertile vegetation. His terrace and wooden veranda overlooked the Seine, and with the automobile he acquired in 1911 he could drive to different vistas. The motif of the river screened by trees in La Seine bleue à Vernon is suggestive of the earlier work of Claude Monet who lived in nearby Giverny. While Bonnard admired Monet's work, there were important differences in his approach to the landscape subject; as Jean-Louis Prat notes: "Bonnard always developed his own visual language, firmly rooted in reality. He did not, like Monet, virtually do away with the subject itself. He always used forms, without experimenting with abstraction, or even contemplating it" (J.-L. Prat, "Pierre Bonnard or An Enduring Painter," Bonnard, exh cat., Paris, 1999, p. 19).
Bonnard created luminous environments through the use of simplified form and vivid coloristic effects. The artist wrote: "Color alone will suffice to express all one wants to say...there is no need for highlighting or modeling in painting. It seemed possible for me to reproduce light, shape and character by the use of color alone, without the help of any values" (quoted in A. Terrasse, "Some Thoughts on Pierre Bonnard", Bonnard, exh. cat., Galerie Salis, Salzburg, 1991, n.p.). The cool tones and the subtle brushwork of La Seine bleue à Vernon imbue it with a meditative aura and are suggestive of the Japanese prints and Persian miniatures that Bonnard had admired as a student. While the scene emphasizes the dominance of nature, the human presence is not entirely omitted and a figure can been seen in the boat on the river. In 1935 Bonnard stated: "I have become a painter of landscapes, not because I have painted landscapes--I have done only a few--but because I have acquired the soul of a landscape painter insofar as I have been able to free myself of everything picturesque, aesthetical or any other convention that has been poisoning me" (quoted in ibid., n.p.).
Bonnard created luminous environments through the use of simplified form and vivid coloristic effects. The artist wrote: "Color alone will suffice to express all one wants to say...there is no need for highlighting or modeling in painting. It seemed possible for me to reproduce light, shape and character by the use of color alone, without the help of any values" (quoted in A. Terrasse, "Some Thoughts on Pierre Bonnard", Bonnard, exh. cat., Galerie Salis, Salzburg, 1991, n.p.). The cool tones and the subtle brushwork of La Seine bleue à Vernon imbue it with a meditative aura and are suggestive of the Japanese prints and Persian miniatures that Bonnard had admired as a student. While the scene emphasizes the dominance of nature, the human presence is not entirely omitted and a figure can been seen in the boat on the river. In 1935 Bonnard stated: "I have become a painter of landscapes, not because I have painted landscapes--I have done only a few--but because I have acquired the soul of a landscape painter insofar as I have been able to free myself of everything picturesque, aesthetical or any other convention that has been poisoning me" (quoted in ibid., n.p.).