By Andre Fermigier

A famous paintings historian deals an incisive portrait of French artist Pierre Bonnard, in addition to severe statement on his significant works, creative improvement, and influence on sleek artwork.

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Muse'e National d'Art Moderne, Paris in 1942, even of the sorrows of the occupa- in spite no way tion of France, Bonnard's activity in faltered. His old age, like that of Matisse and Braque, was a glorious twilight. The was rebirths his art last still works show us what capable of. Gorged with light in their least crevice, his pictures, especially the landscapes, ming become and hum- a sort of resonant surface, an "all-over painting" in which forms and planes are strongly confounded, eccentricities of drawing and composition accentuated with a quite Expressionistic violence.

Crayon, 9X7 The lMinre. Gift of Georges Besson, 1/8*. the donor retaining life interest The to establish a chronology for them. his pictures fetched toward the end of ized him: "All those zeros get said. What on prices that his life scandal- my nerves," he he wanted was not so much glory or fortune as independence and freedom, just to live alone with his wife, his paintings, and his dogs and Poucette. " his maturity seems big even though he sunk it, Ubu : is "This thin, active man a little bent over and on himself, as though this very pose were to be a considered thing.

Lilacs, his favorite, one abound- oranges, pinks, and violet- The hues sharpen more and more, until they 37 ; bathe in an atmosphere of magical, dreamlike unreality, recalling some of of Proust. in fact surprising that It is interpreters, so the most beautiful pages abounding in lyrical Bonnard's passages about him, have never compared him to the author of Remembrance of Things Past. "Let others," wrote Andre Lhote in 1944, "paint metaphysically the crumbling of old principles, the great anguish of the present-day skeptical, draws us of, world.

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Bonnard by Andre Fermigier
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