Les Raisins (circa 1942-45)

Technique: Giclée quality print
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More about this artwork

In the enchanting tableau "Les Raisins," painted during the tumultuous years of 1942 to 1945, Pierre Bonnard, a pivotal figure in the transition from Impressionism to Modernism, captures more than just the superficial beauty of a fruit arrangement. The painting showcases a luscious bowl of grapes mingled with other sumptuous fruits, possibly oranges, set against a visually striking, deeply-hued backdrop.True to Bonnard's style, the scene is rendered with bold, intoxicating colors that transform an ordinary still life into a vivid, emotional experience. The fruits, illuminated as if by an internal glow, draw the viewer’s gaze with their golden and azure hints, suggesting the play of light and reflection. Vibrant reds and pinks dominate the composition, perhaps evoking the intense and passionate undercurrent of life itself.Further enhancing the sensory impact, the use of loosely defined forms and borders lends a dream-like quality to the image, inviting the viewer to delve into the depths of their own feelings and memories provoked by the richness of the elements. Each stroke and hue in "Les Raisins" resonates with Bonnard's introspective approach to art, where personal perception and the subtleties of everyday life blend seamlessly into the canonical narratives of beauty and expression.

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Returns

Yes, reproductions can be returned.

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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.