Dans la rue, la femme à l'ombrelle
signed and dated 'P.Bonnard 94' (lower right)
oil on cardboard laid down on cradled panel
11 1/4 x 9 1/2 in. (28.5 x 24 cm.)
Painted in 1894
Artist or Maker
Pierre Bonnard (1867-1947)
J. & H. Dauberville, Bonnard, Catalogue raisonné de l'oeuvre peint, vol. I., Paris, 1992, no. 51 (illustrated p. 120).
Galerie Druet, Paris.
Alfred Lindon, Paris, by whom acquired before 1930 and thence by descent to the present owner.
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PROPERTY FROM THE ALFRED LINDON COLLECTION, PARIS
Bonnard's early reputation was partly based on his ability to convey an attractive dynamic image of modern life. In his review of the Salon des Indépendants of 1893, Claude Roger-Marx noted his talent for 'picking out and rapidily capturing the picturesque in every spectacle'. At the root of his art lay the impetus to isolate and give significance to the passing incidents of everyday life...Bonnard's subjects were those of the flaneur. An elegant woman in red crosses the street while opening her umbrella, accompanied by a then very fashionable caniche. The painting could commemorate his first meeting with Marthe, but it was more likely to have been one of those chance glimpses of an attractive face that he caught in a croquis, a quick sketch, on one of his ritual morning walks and later painted. Although Bonnard is widely remembered as a painter of domestic interiors he painted innumerable city views throughout his life and won great acclaim for his celebrated series of lithographs entitled 'Quelques aspects de la vie de Paris in 1899. The theme of modern city life which had first attracted the Impressionists took on a new guise in the work of Bonnard. In a dialogue with Jean Cassou, Raymond Cogniat commented on how with the impressionists 'le peintre est devant son sujet' whilst in Bonnard's view 'le peintre est dans le sujet...Bonnard vous enferme dans le sujet...Bonnard vous enferme dans la presence immediate, nous impose le coude à notre avec la réalité, même sans miroir, il referme l'horizon sur l'intimité'. Focusing on the human element he adapted his 'intimiste' approach creating informal and animated scenes. Sketching rapidly he captured the momentary phenomena of street-life, transporting the vivacity of his draughtmanship into his oils.
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