Word: bonnard
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...wartime, the old masters of the School of Paris kept working: Matisse and Bonnard on their chosen imagery of Mediterranean delight, Picasso at his distorted, edgily claustrophobic figures. But with the galleries closed, censorship rampant and the choice of death or exile staring at so many artists, what "art world," as a system, could survive? The surrealists left en masse for New York; in the words of the English critic Cyril Connolly, it was "closing time in the gardens of the West...
...chain. It is the hypnosis that is important, not the swing of the watch. A short piece called The Party begins, "I went to a party and corrected a pronunciation. The man whose voice I had adjusted fell back into the kitchen. I praised a Bonnard. It was not a Bonnard. My new glasses, I explained, and I'm terribly sorry, but significant variations elude me, vodka exhausts me, I was young once, essential services are being maintained." A passage from The Zombies begins: "The zombies say: 'Wonderful time! Beautiful day! Marvelous singing! Excellent beer! Would that lady...
What a life Misia Sert lived! Fauré gave her piano lessons. Ravel dedicated La Valse to her. Stravinsky presented her with the score of Le Sucre du Printemps. Diaghilev made her his ally; she was the only woman with whom he could feel intimate. Toulouse-Lautrec, Bonnard, Vuillard, Renoir, Vallotton painted her, sometimes obsessively. Cocteau modeled the heroine of his novel Thomas l'lmposteur on her. In the masterly hands of Proust she became two people, Princess Yourbeletieff, the young sponsor of the Ballets Russes: "One might have supposed that this marvelous creature had been imported in their...
...show is rich in souvenirs and epigrams of the modernist imagination, Sérusier's little Talisman of 1888, for instance, with its plain flat patches of color that demonstrated so vividly to Denis and Bonnard that art should not be mere representation, but rather "a transposition, a caricature, the passionate equivalent of an experienced sensation"; or the 1890 self-portrait by Edouard Vuillard, done in brilliant polemical slabs of nonnaturalist color. But it is to the great paintings at the center of the exhibition that one returns, those hinges upon which art swung from the 19th century into the 20th...
...stacked up on the canvas. Within this format, Rothko for the next dozen or so years produced one of the most articulate, subtle and prolonged meditations on color in the history of Western art. It had no real parallel among American painters: one needs to go to Matisse or Bonnard to find anything like its expressive scope and patient single-mindedness. Then came the forays into an increasing darkness, the mute theatricality of his penultimate paintings, the wide blackish-plum surfaces that scarcely "breathe" at all, and the dull, fiddling solipsism of the last works...