La Revue Blanche (1894)

Technique: Giclée quality print
Recommended by our customers
Size
Finishing (pick one!)

More about this artwork

Welcome to our exploration of Pierre Bonnard's "La Revue Blanche" from 1894, a captivating lithographic poster on display. This piece holds an intriguing place in art history, exemplifying Bonnard’s early style and the spirit of the Belle Époque in Paris."La Revue Blanche" was created as an advertisement for the influential magazine of the same name, which was a hub for avant-garde literature and arts. In this stunning composition, Bonnard features Misia Natanson, a significant muse and patron in the Parisian artistic circles. She is depicted enveloped in a dramatically oversized and dark coat, her face emerging poignantly from the shadowy fabric, highlighted by a flower adorning her hat, adding both a focal point and a touch of delicacy.Bonnard's use of flat colors and bold silhouettes reflects the influence of Japanese prints, marrying them with the Art Nouveau style that was burgeoning during this period. The image encapsulates not only the essence of "La Revue Blanche" but also the vibrancy of the Parisian artistic landscape. The choice of simple yet striking contrasts, along with the use of text and negative space, makes this poster a powerful piece of graphic art and a testament to Bonnard's innovative approach to composition and design.This poster not only advertises a magazine but also invites the viewer into a deeper contemplation of art, culture, and identity in late 19th century Paris.

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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.