Portrait d’Ambroise Vollard au chat (1924)

Technique: Giclée quality print
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More about this artwork

This captivating portrait by Pierre Bonnard, painted in 1924, is a rich, visually textured depiction of the art dealer Ambroise Vollard, an influential figure in the Parisian art world. Known for his patronage of numerous avant-garde artists, Vollard's presence in Bonnard's oeuvre represents a blend of personal connection and professional respect.In "Portrait d’Ambroise Vollard au chat," Bonnard portrays Vollard seated comfortably yet formally in a room filled with art and artifacts that likely symbolize his career and the scope of his influence. He is dressed in a dark suit, his expression contemplative, perhaps pondering the complexities of the art world or reflecting on a business matter. The central and intimate detail of this composition is the small cat he holds gently in his lap, suggesting a softer side to Vollard’s character, typically hidden behind his business acumen.The room around Vollard is a treasure trove of art that deserves attention. To his left, a small sculpture on a pedestal, possibly indicative of the kinds of pieces Vollard would have dealt with. The background is adorned with a vividly colored framed portrait, adding depth and layers to the composition, signifying the layers of Vollard's life and career.The use of vibrant, textured brushstrokes is typical of Bonnard’s style, lending a dynamic and somewhat informal atmosphere to the setting, contrasting with the formal pose of Vollard. This technique adds warmth and life to the scene, inviting viewers to look closer and explore the narrative threads hinted at by each object surrounding Vollard.

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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.