From Naturalist paintings of Bastille Day in 1880 to rush hour in New York City, and crowds outside the Gare de l’Est in 1917.
Crowded streets in town and cities, from Jan van Eyck in 1435 to Pasini’s market in Constantinople in 1877.
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.
Marthe starts painting, but Bonnard falls in love and has an affair. More superb paintings, here mainly in northern France.
A steady stream of colourful landscapes, from the south and north of France, with many still lives, and the occasional nude figure. But Bonnard also had something of a crisis to deal with.
His paintings gain light and vibrant colour from time at Saint Tropez, and he paints a huge triptych showing the Mediterranean: one of the major paintings of the 20th century.
Focussing his development and innovation on his intimate domestic scenes, he brought a new light, more mirror play, and a first glimpse of his future style.
Paintings of boats inspired by a cruise with the composer Ravel, optical play with mirrors, and four distinctive panels for his patron Misia’s apartment.
Painting Paris street scenes through the winter, Bonnard and Marthe left the city for the country and coast over the summer.
More scenes of street life in Paris, a landscape, and a Japoniste painting of Spring blossom. Bonnard also gives us glimpses of his private life with Marthe.