In the 20th century, his style evolved from the Nabi. The sun came out, he used higher chroma, and painted many portraits.
Paintings from his student days through his active membership of the Nabis, including his superb triptych ‘Public Gardens’.
His later pastels are particularly sublime, with high chroma and mythical stories, include a drunken man being loaded onto a donkey.
A founder member of the Nabis, and close friend of Pierre Bonnard, he developed a unique high chroma style and a taste for mythical landscapes.
Tony Robert-Fleury’s pupils included Lovis Corinth, Cecilia Beaux, Lydia Field Emmet, Marie Bashkirtseff, George Clausen, Édouard Vuillard, and Ker-Xavier Roussel.
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.
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.