Pierre Bonnard was born October 3, 1867 at Fontenay-aux-Roses, near Paris, into the family of a high-ranking official in the French War Ministry. After an idyllic and happy childhood, in 1886, Pierre entered the University of Paris to study law.
In 1887, he also enrolled for evening classes at the Académie Julian, a liberal Parisian art school, where he made friends with Paul Sérusier (1864-1927), Mauris Denis (1870-1943), Henri Ibels (1867-1936) and Paul Ranson (1862-1909). The five friends formed a society known as Nabiim or the Nabis after the Hebrew for 'prophets'.
After graduating from the University, Bonnard was obliged to train as a civil servant in the Paris Registry Office from 1888. At the same time he entered the Ecole des Beaux-Arts, an academic institution with a solid reputation. Evidently the Ecole did not contribute much to Bonnard's artistic development, but there he made friends with Ker-Xavier Roussel (1867-1944) and Edouard Vuillard (1868-1940), who were both initiated into the Nabis.
In 1889, Bonnard won a competition to design a poster advertising French champagne. Revolutionary in its manner this poster greatly influenced Toulouse-Lautrec (1864-1901), whose famous posters of the end of the 19th century were created in the same innovative style.
皮埃尔·博纳尔(1867-1947年)生于丰特奈-欧罗斯，1947年1月 23 日卒于勒卡内。早期从事广告和舞台美术设计，曾经是纳比派成员，画风具有东方趣味。1889年定居巴黎，主要创作油画和版画插图，作品多取材室内景、静物和裸体模特，画风又受印象主义和新印象主义影响。代表作有油画《逆光下的女裸体》、《乡间餐厅》， 版画插图 《 达芙尼与克罗依》、《自然史》等。 1891年前后,博纳尔和他的朋友们彼此以纳比*相称,并被评论家们命名为象征派或白刊*画家.他们在独立派沙龙和布特维尔的勒巴尔小画廊崭露头角.摩里斯·德尼当时只有二十三岁.维亚尔、卢塞尔、博纳尔都不满二十五岁,劳特累克则比他们年长三岁.博纳尔身材高大,但瘦骨嶙岣,性格内向,见人便窘.他的防范到了不信任人的地步.在摩里斯·德尼所作的《向塞尚致意》和瓦洛通所作的《五人》中,都把他画得与旁人有些距离.他对自己的道路也并不明确.起初,一种大众的实用艺术:家具,折扇,屏风,陶瓷,舞台装饰吸引了他.出自昂古尔画室(博纳尔曾把图卢兹·劳特累克带到那里去)的一幅彩色招贴画《法国香槟》在巴黎街头首次让人看到皮·博两个缩写字母和一位儿童画家精美的挥霍.他兴致勃勃地准备干一切"随时出现的工作".淘气、滑稽、柔情已出现在他最初的画作之中,出现在他最早的"日本纳比"石版画或雕塑之中.既大胆又精细，得到世界各地的专家认可，一举成名！
After failing his civil service examination and a six-month military service, which followed, Bonnard rented his first studio with his father's consent. Bonnard exhibited paintings at the Salon des Indépendants from 1891. In the autumn of the same year he took part in the first exhibition of the Nabis in the Gallery of Le Barc de Boutteville. He worked much in all directions; apart from paintings, Bonnard designed furniture and textile patterns, painted screens and stage sets and made puppets for puppet shows, illustrated books. His friends nicknamed him ‘a highly Nipponized Nabi’, because his individual style at that time developed under a strong influence of Japanese prints.
In 1893, he met 16-year-old Marthe de Méligny, of whose real name of Maria Boursin Bonnard was not aware of until they got married 32 years later. From their meeting a large part of his art revolved around her. His paintings of the late 1890s are very personal and intimate, e.g. Indolence (1899), Man and Woman (1900).
From 1900, the artist started spending more and more time out of Paris, in the countryside between Paris and Normandy. His numerous landscapes of the period are influenced both by the Impressionists and Gauguin. From 1906, Bonnard began to have annual one-man exhibitions, the Bernheim-Jeune art-dealing firm signed an exclusive contract for the exhibition of his works. While his compositions and brushwork remained 'traditionally Impressionistic', close to Degas', he gradually developed his own style, enriching the Impressionist color palette.
The newest artistic developments in Paris did not interest Bonnard. Fauve painting, Cubism, and other 'isms' had no influence on him. The best known of his works of the period are panels commissioned by Misia Godebska in Paris (1910) and the triptych The Mediterranean done for the Moscow residence of Ivan Morozov in 1911.
During the years before the First World War he traveled much in Europe and North Africa, (Spain, Belgium, Holland, England, Italy, Germany, Algeria and Tunisia) but it's difficult to find any impact of these travels in his art. During the war he exhibited little. And again, apart from several war-themed sketches, there is no trace of this colossal conflict in his works. It seems he painted from his happy childhood, his art is personal and intimate and the 20th century is absent. The tranquility of his painted world is not disturbed by the events of real life.
In 1918 he was made the honorary president of a society of young French painters.
In 1926 Bonnard bought a house named 'Le Bosquet' at Le Cannet on the Côte d'Azur. The house remained his main place of residence and work until his death. The same year, 1926 year, he visited the USA.
His works of the 1920s and 1930s were called "meditative masterpieces" by some critics.
In 1937 he was honored with the responsibility of decorating the French pavilion at the Exposition Universelle in Paris. According to his own opinion he failed to create something worthy on the large surface.
In his old age, Bonnard returned to the youthful exuberance of dazzling light and color, producing compositions of exquisite taste. During the Second World War he lived in Le Bosquet, and continued living there as a recluse after his wife’s death in 1942. In 1945, he paid his last visit to Paris. On January 23, 1947 Bonnard died.
Joseph Bernheim-Jeune (1870-1941) and Gaston Bernheim de Villers (1970-1953) – art dealers, heirs to their father, a famous art dealer Alexandre Bernheim (1833-1915), who promoted the first generation of Impressionists, mainly Monet and Renoir, who were friends of the family. After 1900 the brothers supported and marketed Van Gogh, Cézanne and some of the Post-Impressionists, the members of the Nabis group among them. Bonnard had his first one-man show at their gallery in 1906; thereafter he exhibited annually until the First World War.
See: Pierre Bonnard. Joseph Bernheim-Jeune and Gaston Bernheim de Villers.
Pierre-Auguste Renoir. Portrait of M. and Mme. Bernheim de Villers.
Impressionism. Tashen. 1997.
Misia Godebska (1872-1950), the daughter of the Polish emigrant sculptor Cyprien Godebski, initially performed as a pianist. After marrying Thadée Natanson, the editor of La Revue blanche, she hosted a literary-artistic salon – Mallarmé, Debussy, Renoir, as well as young Nabi painters such as Vuillard, Félix Vallotton and Bonnard were among her guests. After Natanson was almost bankrupt, the newspaper magnate Alfred Edwards saved him, on condition that he surrender his wife. Misia's third marriage was with the Spanish painter José Maria Sert (1876-1945).
See: Pierre Bonnard. Misia. Pierre Bonnard. Misia.
Félix Vallotton. Misia at Her Dressing Table/Misia à sa coiffeuse.
Claude Terrasse (1867-1923), French composer, author of comic operas, such as Work of Hercule (1901), The Lord de Vergy (1903) and Mister of Train (1904). He was married to Bonnard's sister Andrée. The picture is also known as The Bourgeois Afternoon.
See: Pierre Bonnard. The Terrasse Family.
Ambroise Vollard (1867 Saint Denis (Réunion) – 1939 Paris), son of a notary, he was one of the most important art dealers in Paris at the beginning of the 20th century. He arrived in Paris as a law student. After receiving his doctorate, he devoted himself to his hobby, art. In 1893, he opened his own gallery with an exhibition of sketches by Manet. In 1895 he organized the first exhibition of Cézanne. He also sold pictures by Renoir, Degas and Pissarro.
As the most important art dealer for the avant-garde, he organized the exhibitions of works by Van Gogh, Picasso (1901) and Matisse (1904); he also took interest in the works of the Nabis, the Fauves and the Cubists. He helped to shape the careers of many artists.
As publisher, he printed lithographs and books illustrated by artists, published monographs on Cézanne, Degas and Renoir and, in 1937, his "Memoirs of an Art Dealer".
See: Pierre Bonnard. Ambroise Vollard.
Pablo Picasso. Portrait of Ambroise Vollard.
Impressionism. Taschen 1997.
Pierre Bonnard. By N.V. Yavorsky. Moscow. 1972.
French Painting from the Hermitage, Leningrad. Mid-19th to early 20th century. Aurora. Leningrad. 1975.
Painting of Europe. XIII-XX centuries. Encyclopedic Dictionary. Iskusstvo. 1999.
Pierre Bonnard: Observing Nature by Pierre Bonnard, Gloria Groom (Contributor), Ursula Perucchi-Petri (Contributor), Belinda Thomson, Jorg Zutter (Editor). National Gallery of Australia, 2003
Bonnard: Shimmering Color by Antoine Terrasse (Author), Laurel Hirsch. Harry N. Abrams, 2000.
Bonnard by Nicholas Watkins (Author). Phaidon Press Inc., 1996.
Interpreting Bonnard: Color and Light by Nicholas Watkins. Stewart, Tabori & Chang, 1998.