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  • Pierre Bonnard
    Oct 03, 1867 - Jan 23, 1947
  • Still Life, Fruits - Pierre Bonnard was a French painter who helped provide a bridge between impressionism and the abstraction explored by post-impressionists. He is known for the bold colors in his work and a fondness for painting elements of everyday life, member of the group of artists called the Nabis and afterward a leader of the Intimists; he is generally regarded as one of the greatest colourists of modern art.
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Still Life, Fruits
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  • Still Life, Fruits

  • Pierre Bonnard
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  • NATURE MORTE, FRUITS
    circa 1942
    Oil on canvas
    Private Collection, United States.

    This rich and vibrant still life of fruits on a table was painted during the war years whilst Bonnard was living at Le Bosquet, his small house in Le Cannet overlooking the Mediterranean. The domestic interior of this home, in particular the dining room and bathroom, provided the constructs for some of his finest interiors and still lifes. Bonnard kept a studio on the top floor of Le Bosquet where he painted solely from memory, capturing and interpreting the memory of objects and spaces on his canvases. Dita Amory, curator at The Metropolitan Museum of Art, discussed Bonnard’s approach noting “while that studio may have been where Bonnard kept his paints and brushes, where he tacked his canvases to the wall, and where he retreated from the world, it was not in the studio that he found his source of inspiration. That was left to the rooms of Le Bosquet, to the daily rituals of breakfast and tea, to the comfort of seeing Marthe feeding the cat. In the familiar, Bonnard discovered infinite possibilities.” (D. Amory, 'The Presence of Objects: Still Life in Bonnard’s Late Paintings' Pierre Bonnard. The Late Still Lifes and Interiors, New York, 2009)

    Bonnard’s still lifes departed from tradition in that he painted the experience and memory of objects, the impressions left on his mind instead of trying to copy their actual physical appearance onto canvas. Nature morte, fruits bears a striking similarity to Cézanne’s Les pommes, painted a half century before, not only in subject matter and composition, but also in the manner which both artists imbue the still-life with all the subtlety and emotional potency of portraiture. Bonnard and Cézanne treated the background of their still life composition with as much attention and care as the objects themselves, creating dynamic and complex pictures. A blue and white striped tablecloth and red felt runner dominate the foreground of Nature morte, fruits, while a few blue objects rest on a table in the background. The round curves of the fruit are grounded by these horizontal lines, creating a sense of space and volume that gives the fruit a palpable presence. Clive Bell noted “The first thing one gets from a picture by Bonnard is a sense of perplexed, delicious color: tones of miraculous subtlety seem to be flowing into an enchanted pool and chasing one another there. From this pool emerge gradually forms which appear sometimes vaporous and sometimes tentative, but never vapid and never woolly. When we have realized that the pool of color is, in fact, a design of extraordinary originality and perfect coherence our aesthetic appreciation is at its height. And not until this excitement begins to flag do we notice that the picture carries a delightful overtone—that it is witty, whimsical, fantastic” (C. Bell, Since Cézanne, New York, 1922, p. 100).

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Other paintings by Pierre Bonnard:

Still Life with Orange Jug
Still Life with Orange Jug
Still Life with Peaches and Yellow Pot
Still Life with Peaches and Yellow Pot
Still Life, Three Clusters of Grapes
Still Life, Three Clusters of Grapes
Street at Montmartre, The Sacred-Heart
Street at Montmartre, The Sacred-Heart
Pierre BonnardPierre Bonnard was a French Post-Impressionist painter remembered for his ability to convey dazzling light with juxtapositions of vibrant color. “What I am after is the first impression—I want to show all one sees on first entering the room—what my eye takes in at first glance,” he said of his work. Born on October 3, 1867 in Fontenay-aux-Roses, France, Bonnard studied law at the Sorbonne, graduating in 1888. During this time, he was also enrolled at the École des Beaux-Arts but left to attend the Académie Julian in 1889. At this more open-minded painting academy, Bonnard met Maurice Denis, Paul Sérusier, and Édouard Vuillard, among others. Together with these artists he helped from a group known as the Nabis, who were influenced by Japanese prints and the use of flat areas of color. Early on in his career, Bonnard was better known for his prints and posters than for his paintings. Moving to the South of France in 1910, over the following decades, Bonnard receded from the forefront of the art world, mainly producing tapestry-like paintings of his wife Marthe in their home. Late works of Bonnard, such as The Terrace at Vernonnet (1939), more closely resembled a continuation of Impressionism than other avant-garde styles of the era. Because of this, at the time of his death on January 23, 1947 in Le Cannet, France, the artist’s work had been largely discounted as regressive. Today, his works are held in the collections of the Hermitage Museum in St. Petersburg, the Metropolitan Museum of Art in New York, the Neue Pinakothek in Munich, the Musée d’Orsay in Paris, and the Tate Gallery in London, among others.