Pierre Bonnard (1867-1947)
威廉.凱利.辛普森遺產珍藏
皮埃.波納爾

手搖風琴 (演奏風琴的藝人)

細節
皮埃.波納爾
手搖風琴 (演奏風琴的藝人)
簽名及日期:PBonnard 95 (中下)
油彩 畫板
16 1/8 x 10 3/8 吋 (40.9 x 26.3 公分)
1895年作
來源
巴黎羅傑.馬克思;1914年5月11日,巴黎曼茲─哉安畫廊,拍品編號5
巴黎小伯恩海姆畫廊
倫敦亞瑟.圖斯畫廊 (1933年購自上述收藏)
法國休.尼姆 (可能於1935年購自上述收藏,直至至少1949年)
達德利.圖斯伉儷 (1966年前)
紐約E.V.托爾畫廊 (1989年前)
已故藏家於1981年2月5日購自上述收藏
出版
R. Cogniat著 《Bonnard》,巴黎,1989年,第17頁 (彩色插圖)
J及H. Dauberville著 《Bonnard: Catalogue raisonné de l'oeuvre peint, 1888-1905》,第1冊,巴黎,1992年,第147頁,編號91 (插圖)
T. Hyman著 《Bonnard》,倫敦,1998年,第46及217頁 (彩色插圖,第47頁,圖號31;支撐物資料有誤)
展覽
1949年6月 倫敦亞瑟.圖斯畫廊 「Anthology: Loan Exhibition of French Pictures from Private Collections」展覽;編號24
1966年9月至11月 巴黎盧浮宮博物館 「Dans la lumière de Vermeer: cinq siècles de peinture」展覽;編號56 (插圖)
1966年 倫敦皇家藝術學院 「Pierre Bonnard: Winter Exhibition」展覽;第35頁,編號17
1979年11月至1980年3月 倫敦皇家藝術學院及華盛頓特區國家畫廊 「Post-Impressionism: Cross Currents in European Painting」展覽;第49至50頁,編號32 (插圖,第49頁)
1983年11月至12月 紐約威爾頓斯坦公司 「La revue blanche: Paris in the Days of Post-Impressionism and Symbolism」展覽;第83頁 (彩色插圖,第32;支撐物資料有誤)
1991年6月至12月 波士頓美術館及紐約IBM畫廊 「Pleasures of Paris: Daumier to Picasso」展覽;第66及181頁,編號9 (彩色插圖,第66頁)
1993年5月至1994年1月 蘇黎世美術館及巴黎大皇宮國家美術館 「Die Nabis Propheten der Moderne」展覽;第126頁,編號16 (彩色插圖)
(可能) 2010年9月至2011年1月 伍珀塔爾海德博物館 「Pierre Bonnard: Magier der Farbe」展覽

拍品專文

Beginning in the early 1890s, at the height of his association with the circle of young avant-garde painters who called themselves the Nabis, Bonnard produced a series of provocatively modern Parisian cityscapes that portray the countless vignettes and chance encounters that comprise the daily experience of the urban street. On his ritual early-morning walks, he was constantly alert to the shock of an image—to unexpected incidents and fugitive sensations, glimpsed in passing, which sparked his impulse to begin a canvas. “It was in the metropolis,” Timothy Hyman has written, “that he first developed the faculty of passive attention, of waiting for that sudden welling-up of excited recognition, when a spatial arrangement locks perfectly into place, and a situation becomes an image” (op. cit., 1998, p. 46). He then painted back in his studio, mediating this initial experience through the subjectivity of memory—“distilling emotion from the most modest acts of life,” he explained, “the theater of the everyday” (quoted in ibid., p. 50).
In the present work, Bonnard depicts an organ-grinder plying his trade on a narrow strip of pavement before a yellow-brick apartment building, very likely in the Batignolles district at the foot of bohemian Montmartre, where the artist rented a succession of studios from 1889 onward. A woman in a red dress leans over the railing of a second-story window to watch the musician, becoming at once a voyeur of the public realm and part of the urban spectacle herself. The flat façade of the apartment building, like a theatrical backdrop, occupies nearly the entirely plane of the canvas, leaving only a shallow stage for the organ-grinder. Bonnard’s viewpoint is at eye level with the woman, as though he were observing the entire scene from another window across the street, or from a metaphorical theater box.
By 1895, the year that he painted Le joueur d’orgue, Bonnard had begun to distance himself from the more mystical and theoretical of his young colleagues, including Denis and Sérusier, and to seek ways of reconciling the immediacy of direct experience with the highly decorative art form favored by the Nabis. The close cropping of the present scene, inspired by Japanese ukiyo-e prints and the new technology of the Kodak snapshot, conveys all the freshness and informality of the first glance, while simultaneously reinforcing the underlying structure of the image. “Le joueur d’orgue shows Bonnard’s enjoyment of the formal division of the surface—the yellow building, the cool white shutters, the sudden deep black of an open window—by which a genre scene is raised to a stilled abstract harmony,” Hyman has noted. “In the silence of the emptied grid, the solitary music-maker embodies a delicate pathos” (ibid., p. 46).
Bonnard would later date the crystallization of his full painterly identity to this very moment, on the cusp of his first solo exhibition at Durand-Ruel. “The year was around 1895,” he recounted. “One day, the words and theories that were the foundation of our conversations—color, harmony, the relation between line and tone, balance—lost their abstract significance and became very concrete. I understood what I was seeking and how I would try to obtain it. What came after? The point of departure had been given to me; the rest was just daily life” (quoted in Pierre Bonnard: Early and Late, exh. cat., The Phillips Collection, Washington, D.C., 2002, p. 31).

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