Pierre Bonnard

Richard Ward reviews Matisse-Bonnard: Long Live Painting at the Staedal Museum Frankfurt, on view through January 14, 2018. Ward notes that the "difference of approach [of the two artists] is visible throughout the exhibition and manifests itself in various ways: Matisse's primary creation is pictorial space. Even a simple, almost sketch-like painting, such as the

An essay on Bonnard's drawings, the first in an occasional series featuring important but under-known writings by the painter Sargy Mann (1937- 2015).

Anna McNay reviews Bonnard: En toute intimité at the Musée Bonnard, Le Cannet, France, on view through April 23, 2017. McNay begins: "With the title Bonnard: En toute intimité, one might well expect an exhibition focusing on the artist’s nudes, or more erotic elements of his work, but, just as Tracey Emin’s tent, Everyone I

Mark Van Proyen reviews Pierre Bonnard: Painting Arcadia at the Palace of the Legion of Honor, San Francisco, on view through May 15, 2016. Van Proyen notes that the exhibition enables "a fresh look at the way that Bonnard was able to use the fluctuating warm and cool radiances of the color spectrum to model

Sarah Whitfield reviews the recent exhibition Pierre Bonnard: Painting Arcadia at the Musée d’Orsay, Paris. The show, Whitfield notes, addresses two issues: "Should Bonnard be seen primarily as an easel painter, as fully engaged in the twentieth century as Matisse or Picasso? In which case these decorations, dislodged from their original period settings, tend to

Susanna Coffey considers Pierre Bonnard's The Terrace at Vernonnet (1920-39) in the Metropolitan Museum of Art. Coffey notes that "The picture brings us to a summery get together on a golden terrace above a shimmering blue/violet/green/pale yellow landscape. The canvas itself is about the size of a commodious dining table that Bonnard has set up

Julie Heffernan considers Pierre Bonnard's Large Yellow Nude (1931). Heffernan interprets the foreground of the painting: "If you look closely you can see inchoate thumbs and scribbled knuckles that are holding some obscurely drawn, scribbley thing. Suddenly we realize that those thumbs and knuckles function pictorially as our own... We become Bonnard looking at his