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.
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.
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.
Three sisters in Millais’ romantic gloss on the Jacobite rebellion of 1745. One became Roussel’s lover, another Godward’s favourite nude, and the third married a musician.