The finest landscapes, from Marsden Hartley, Pierre Bonnard, Ferdinand Hodler, and others in 1918.
Bonnard
Decidedly Post-Impressionist, his loose style and rough facture did not impress the critics at first. Painting a mixture of landscapes and scenes from the centre of Berlin, he was still looking for the right formula.
Framing a landscape with a window forms a picture within a picture, and can reverse the traditional device of repoussoir.
Between 1905 and 1916, he often painted his models in front of a mirror, and played games with their reflections.
An overview of more than fifty years of his magnificent landscapes, from the rolling countryside of Isère, in the east of France, to the heat of Le Cannet in the south.
In the nineteenth century, with the decline of patronage and changed art markets, fables become more popular among painter, at least before they gained patrons.
Some of his best paintings of his partner for almost 50 years, in the bath, on the bed, at the table, or just walking around the house.
Paintings of exuberant brilliant yellow mimosa, bleak self-portraits, and his favourite views around Le Cannet from his final years.
Landscapes and paintings of Marthe in the bath reached a peak in which colour was supreme, and form became fluid and adaptable.
In the 1930s, he painted more watercolours, intimate domestic scenes, and nudes. Despite being in his mid-sixties, his work showed no sign of easing off.
The Eclectic Light Company 