Paintings of exuberant brilliant yellow mimosa, bleak self-portraits, and his favourite views around Le Cannet from his final years.
landscape
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 Bonnard’s spent much of their time on the Mediterranean coast, in their villa in Le Cannet. But Pierre found himself isolated, and snuck off for 6 months in Carcachon.
They start moving to Le Cannet, on the Mediterranean coast, and marry at last. He returns to painting intimate scenes of Marthe, notably of her in the bath.
He ran off to Rome with another lover, leaving Marthe in the south of France. More fine paintings – including one of his best.
Gérôme’s ‘Ave Caesar’ was a visually stunning wide-angle spectacular, with its detailed reconstructions. Examined in the light of Claude, Girtin, Turner, and others.
With the end of the war, his output increased significantly. A close look at the Tate’s ‘Bowl of Milk’, and Bonnard’s continuing independence.
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.
The Eclectic Light Company 