1890 -1947 · Nabi, memory and color

From Grand-Lemps to Cannet, Bonnard transforms gardens, terraces and views from the window into spaces of lived and remembered color.

Pierre Bonnard approached the garden very early with the decorative freedom of the Nabis. In Grand-Lemps, family figures are cut out in flat areas and friezes inspired by Japanese prints. Later, his houses in Vernonnet then Le Cannet offered him landscapes that were long frequented. Bonnard does not necessarily paint in front of the motif: he observes, draws and reconstructs from memory, letting color intensify the experience. The window or door often connects the dining room, terrace and vegetation, letting color intensify the experience. The window or door often connects the dining room, terrace and vegetation, allowing color to intensify the experience. The window or door often connects the dining room, terrace and vegetation, allowing color to intensify the experience. The window or door often connects the dining room, terrace and vegetation, allowing color to intensify the experience. The window or door often connects the dining room, terrace and vegetation, so that the interior seems to extend into the garden. At Le Bosquet, a house acquired in Le Cannet in 1926, the Mediterranean hills and trees become a constant source. The depth is organized less by perspective than by passages of yellow, purple, orange and green. Garden and landscape thus become spaces of time, sensation and intimacy. The "Gardens and landscapes of Pierre Bonnard" selection notably compares La Salle à diner sur le jardin and Femmes au jardin. Its reading favors the atmosphere.

At Bonnard, the window does not stop the eye: it circulates color between the privacy of the house and the garden.