Electric light on the banks of the Seine in Paris, and in the shopping centres of Berlin, herald the eternal light of today’s city centres.
From the burning brands and oil lamps of the Greeks and Romans, to the soft light of candles, then in the 19th century came gaslights.
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.