Light and modulated colour are core elements of Arbres en fleurs, maison blanche. The composition demonstrates Bonnard’s inherited artistic affinity with the Impressionist style; the lively brushstrokes evoke Monet’s landscapes. Yet, Jean-Louis Prat notes: 'Bonnard always developed his own visual language, firmly rooted in reality. He did not, like Monet, virtually do away with the subject itself. He always used forms, without experimenting with abstraction, or even contemplating it' (Jean-Louis Prat, 'Pierre Bonnard or An Enduring Painter', in Bonnard (exhibition catalogue), Foundation Pierre Gianadda, Martigny, 1999, p. 19). This work precedes the final stage in Bonnard’s artistic maturation to a post-impressionist rejection of traditional perspective. Reflecting on his career in 1935, Bonnard stated: 'I have become a painter of landscapes, not because I have painted landscapes—I have done only a few—but because I have acquired the soul of a landscape painter insofar as I have been able to free myself of everything picturesque, aesthetical or any other convention that has been poisoning me' (quoted in Antoine Terrasse, 'Some Thoughts on Pierre Bonnard', in Bonnard (exhibition catalogue), Galerie Salis, Salzburg, 1991, n.p.).
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