拍品專文
The domestic interior was a major theme for Bonnard throughout his career. He frequently included still-lifes in these pictures, and often incorporated images of his family members, and pets. These works typically radiate with the warmth, serenity and beneficence of domestic tranquility. Nature morte levrette is a classic example of this theme in his work.
The shelf and table divide the composition of Nature morte levrette into three horizontal bands of nearly equal dimension. This kind of geometrical order is standard in Bonnard's paintings of the domestic interior; another contemporary example is Femme tenant un chien, from 1922 (Phillips Collection, Washington, D.C.). The application of pigment is lush and diffused. The combination of architectural structure and painterly brushwork is found in many of Bonnard's most important paintings and is a goal he shared with his friend Matisse.
The palette of the present work, with its emphasis on black, white and gray, is indebted to nineteenth century and Impressionist painting, precedents that can be found in the works of Manet, Bazille and Czanne (e.g. La pendule noire; Rewald, no. 136).
Bonnard has arranged the still life with great care to create a strong sense of visual rhythm. Charles Sterling has commented on Bonnard's fruit still-lifes:
"His still lifes are assortments of fruit on tables or in cupboards exposed to the sun; but departing from the Impressionists' literal-minded naturalism, he gives them an air of strange enchantment. His objects are pervaded by the light and heat of the sun, whose rays seem to melt down the fruits to a colored essence of their flesh and their taste-his interiors are fragrant with it" (C. Sterling, Still Life Painting From Antiquity to the Twentieth Century, New York , 1981, p. 124).
The shelf and table divide the composition of Nature morte levrette into three horizontal bands of nearly equal dimension. This kind of geometrical order is standard in Bonnard's paintings of the domestic interior; another contemporary example is Femme tenant un chien, from 1922 (Phillips Collection, Washington, D.C.). The application of pigment is lush and diffused. The combination of architectural structure and painterly brushwork is found in many of Bonnard's most important paintings and is a goal he shared with his friend Matisse.
The palette of the present work, with its emphasis on black, white and gray, is indebted to nineteenth century and Impressionist painting, precedents that can be found in the works of Manet, Bazille and Czanne (e.g. La pendule noire; Rewald, no. 136).
Bonnard has arranged the still life with great care to create a strong sense of visual rhythm. Charles Sterling has commented on Bonnard's fruit still-lifes:
"His still lifes are assortments of fruit on tables or in cupboards exposed to the sun; but departing from the Impressionists' literal-minded naturalism, he gives them an air of strange enchantment. His objects are pervaded by the light and heat of the sun, whose rays seem to melt down the fruits to a colored essence of their flesh and their taste-his interiors are fragrant with it" (C. Sterling, Still Life Painting From Antiquity to the Twentieth Century, New York , 1981, p. 124).