Street Corner Seen From Above

Technique: Giclée quality print
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More about this artwork

This painting by Pierre Bonnard, titled "Street Corner Seen From Above," presents an intriguing aerial view of an urban street scene. The perspective is one of Bonnard's distinctive uses of viewpoints, transforming an everyday scene into a composition rich with dynamism and depth.The artwork is marked by loose, expressive lines and a limited but impactful color palette, predominantly in shades of brown, black, and white, which convey the bustling atmosphere of the street corner. The buildings flank the scene with their detailed windows and textured façades, seeming to tower over the street below.The street itself is lively, filled with numerous figures that give a sense of motion and activity. These figures, though rendered in a somewhat abstract manner, suggest the hustle and bustle typical of city life. The human forms and their shadows are sketched with quick, gestural strokes, emphasizing movement rather than individual identity.In the lower part of the composition, there's interesting use of white, creating contrast that draws the eye towards what appears to be figures engaged in various activities, possibly vendors or pedestrians. The intersecting lines and varying textures not only guide the viewer's gaze throughout the painting but also enhance the feel of depth and space from such an elevated viewpoint.Overall, Bonnard's work captures the rhythm and complexity of urban life, focusing on the play of light, shadow, and form to encapsulate a moment in time from a unique and captivating perspective.

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Pierre Bonnard (1867-1947) was a French post-impressionist painter, printmaker, and the leader of the Intimist art movement. He is regarded as one of the greatest colourists of modern art. Together with other young artists in Montmarte, Bonnard co-founded the group known as Les Nabis, translated from the arabic word “prophet”. He was known for a painting style that was very intimate, featuring friends in a garden, nudes, interiors and sunlit objects of everyday life. He began by painting in watercolor, composing scenes and deeply familiarizing himself with the subject, before transferring the composition to canvas. In many of his paintings, his mistress Marthe was the main subject. She was his most important model and was often pictured nude, after 30 years they finally married.