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PALLADIO BONNARD:

While the Picasso and Braque invented cubism, that will forever change the way you look in Western art, introverted painter sits on the sidelines of the avant-garde fashion. His name is Pierre Bonnard and was fascinated by the findings Impressionists, including Japanese prints. Among the impressionist and cubist, Bonnard will stay, in his words, suspended in the air. His life is held, silent, following their natural inclination to isolation at his country home, first in Vernon, north of Paris, then in the Costa Azul, in a house called le Bosquet.

The Open Window (1921)

there everyday world become an excuse for creating painting: from the breakfast table anondino bathroom, exceeds the interest in capturing a moment to build the painting as an infinite combination of plastic changes.

The dining room in the field (1913)

Bonnard articulates the space as a mental construct. Painted on canvases that are not mounted on the frame, but attached to the wall, for unknown what the limit will get the job done. There are several tables that moves at the same time, and the wealth of nuances of his compositions and surface speaks of a constant review process in a continuous question.

Breakfast

The diagonals are the addresses recurrent from older works, where you feel more clearly the influence of the print japonesa.Este disinterest in traditional linear perspective is the way developed in the disregard for tonal variations to suggest the depth of the scene.

backlit Nude (1908)

This table is a meeting between impressionism and cubism, and the result is a new road. From Impressionism
making use of complementary colors, especially visible in the shadows. The position of the model, Marthe, the wife of painter reproduces a sculpture by Degas. The backlight will excuse to cast colored shadows of violet, orange and blue, bright yellow against the wall and clear blue curtain. Bonnard

Cubism making the juxtaposition of different viewpoints in a single image. Looking at the position of the tub, is incompatible with that of an example construction sofá.Es compartmentalized, divided into sections, giving priority to the development of the composition over printing.
His paintings show an interest in straight lines, horizontal and vertical, articulated separate spaces. Surfaces began working as a palimpsest. Shades of color achieved by superimposing one layer after another, tweaking and re-tweak.

The dining room in the field (1934)

All of them away from the model to become a tapestry of tones, not warp nightfall naturalista.La gives a bluish light that is your favorite to create colored shadows. The red walls (painted and at home) will provide the ideal framework in which reverberate the milk jug tonos.Una thus becomes involuntary reason, forgotten on a table of dark memories. The backlight of Marthe, who reminded one critic the picture of a Kore, conveys the flavor of the decline of a civilization: the world of Bonnard.

milk jug (1919)

In the bathroom, Marthe morphs into part of the room. If in the early paintings of Bonnard nude Degas took the attitude, the voyeur in you Bosquet, the model becomes a face devoid of aquatic animal whose shapes blend with objects.

out of the tub (1926)

This leaves the bath, the back matches the contour of the tub, and extends a conscious part of the body proportion fusiform acquired. There is no white in the bathroom, floor tiles vibrate lacking any perspective, like drops of water, elusive.

The bathroom (1925)

The presence of horizontal canvas partitions the space which flows a sea of \u200b\u200baquatic animal tonos.El-Danae Ophelia is immersed in water, in infinite stillness, breaking the stroke variations and shades of color. Given this situation, I feel that Rothko only took a further step in the road that it had explored Bonnard.

And neither the one nor the other can they do justice to the views of the Internet.