- 42
皮耶·博納爾
描述
- Pierre Bonnard
- 《香檳露台》或《露台上》或《夏日午後露台上的茶(米西亞·塞爾的家)》
- 款識:畫家簽名Bonnard(左下)
- 油彩畫布
- 21 3/8 x 28 3/4英寸
- 54.3 x 73公分
來源
Georges Bernheim, Paris (acquired from the above and sold: Galerie Charpentier, Paris, June 7, 1935, lot 26)
M. H. G. Turitz, Goteborg (acquired in 1939 and until 1947)
Private Collection, Sweden (acquired by 1949)
Galerie O'Hana, London
Max Kaganovitch, Paris
Acquired from the above in 1960
展覽
Stockholm, Liljevalchs Konsthall, Cézanne till Picasso, 1954, no. 20
出版
Konstrevy, XVe année, 1939, illustrated p. 42
François-Joachim Beer, Bonnard, Marseille, 1947, no. 89, illustrated p. 109 (titled Le Thé sur la terrasse)
Rolf Söderberg, Pierre Bonnard, Stockholm, 1949, illustrated p. 54
Jean & Henry Dauberville, Bonnard Catalogue raisonné de l'oeuvre peint, 1906-1919, Paris, 1968, vol. II, no. 909, illustrated p. 414
拍品資料及來源
The terrace at Ma Roulotte is among the most iconic subjects of Bonnard’s oeuvre and one he returned to on numerous occasions, depicting it in many different guises but always using it as a starting point from which to explore his unique pictorial vision. The view in the present work is one of deliberate remove; Bonnard places himself outside the main center of activity on the terrace. As in much of the artist’s best work, the figures, and indeed most of the objects, are placed on the periphery of the pictorial plane. There is no one focal point; the different elements of the composition are given equal weight, so that the viewer must perceive them simultaneously. In this Bonnard sought to transcribe not so much the view before him, but rather the actual experience of seeing it. As the art historian Jean Clair wrote: “the revolution in painting brought about by Bonnard was that, for the first time, a painter attempted to translate onto canvas the data of a vision that is physiologically ‘real’ … He was the first artist to have attempted to portray on canvas the integrality of the field of vision and so bring nearer to the eye what classical perspective had kept at a distance” (quoted in Bonnard (exhibition catalogue), Tate Gallery, London, 1998, p. 33).