Houses In A Courtyard (1899)

Technique: Giclée quality print
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More about this artwork

Discover the charm of urban architecture through Pierre Bonnard’s 1899 masterpiece, "Houses in a Courtyard." This exquisite painting captures an intimate view of a dense, multi-storied building nestled within a courtyard, a sight not uncommon in the bustling cities at the turn of the 20th century.In this piece, Bonnard employs a subtle palette and delicate line work to depict the aged facade of the building, which features a variety of windows, each telling a story of its own. The numerous shutters, some closed and others open, hint at the life swirling behind them, adding mystery and depth to this seemingly simple scene. The muted tones of the walls contrast sharply with the dark, textured roof and its chimneys, which add a dramatic touch to the overall composition.The perspective Bonnard uses draws the viewer’s eye upwards, from the ground floor ascending to the rooftops, where small details like the chimney pots are rendered with care. The use of framing—being able to see this courtyard scene as if through another window—invites the viewer to gaze into a private space, a glimpse into the day-to-day of the city's inhabitants."Houses in a Courtyard" not only provides a visual representation of urban living at the end of the 19th century but also evokes the mood and atmosphere of the era, making it a captivating study for those interested in both art and historical architecture.

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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.