.jpg?w=1)
.jpg?w=1)
拍品專文
In 1904 Pierre Bonnard made his first visit to the South of France. Together with Edouard Vuillard, he visited their fellow Nabis artist Ker-Xavier Roussel in Saint-Tropez. Captivated by the light and landscape of the Midi, Bonnard returned to Saint-Tropez for a longer stay in the summer of 1909 as the guest of Henri Manguin. From then onwards he was to spend a large part of his career in the South of France, painting yearly on the Côte d’Azur; in Saint-Tropez, Antibes, Grasse and at Le Cannet, in the hills above Cannes, where he purchased a villa in 1925.
In his drawings, Bonnard made use of whatever paper came to hand, sometimes lined or squared pages of cheap paper or small sketchbooks, generally of a small enough size to fit into his pocket, as well as yearly pocket diaries or agendas. As his great-nephew Antoine Terrasse has described them, Bonnard’s surviving sketchbooks or diaries, most dating from the 1920s, contain ‘innumerable quick sketches of figures, landscapes, nudes, or seascapes, all incredibly lively in spite of their small size.' (A. Terrasse, ‘Bonnard’s Notes’, in E. Hutton Turner, Pierre Bonnard: Early and Late, exh. cat., The Phillips Collection, Washington, 2002, p. 246).
This drawing comes from a small sketchbook used by Bonnard in 1921, which included other drawings of Saint-Tropez and the French coastline, as well as several views of Rome, some of which relate to a large painting of the Piazza del Popolo, Rome of 1922 (private collection). Bonnard spent the period between December 1920 and March 1921 staying with Manguin at Saint-Tropez, before spending a fortnight in Rome at the end of March.
In his drawings, Bonnard made use of whatever paper came to hand, sometimes lined or squared pages of cheap paper or small sketchbooks, generally of a small enough size to fit into his pocket, as well as yearly pocket diaries or agendas. As his great-nephew Antoine Terrasse has described them, Bonnard’s surviving sketchbooks or diaries, most dating from the 1920s, contain ‘innumerable quick sketches of figures, landscapes, nudes, or seascapes, all incredibly lively in spite of their small size.' (A. Terrasse, ‘Bonnard’s Notes’, in E. Hutton Turner, Pierre Bonnard: Early and Late, exh. cat., The Phillips Collection, Washington, 2002, p. 246).
This drawing comes from a small sketchbook used by Bonnard in 1921, which included other drawings of Saint-Tropez and the French coastline, as well as several views of Rome, some of which relate to a large painting of the Piazza del Popolo, Rome of 1922 (private collection). Bonnard spent the period between December 1920 and March 1921 staying with Manguin at Saint-Tropez, before spending a fortnight in Rome at the end of March.