La Cueillette des fruits (1899)

Technique: Giclée quality print
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More about this artwork

Pierre Bonnard's "La Cueillette des fruits" (1899), beautifully encapsulates a moment of rustic tranquility and familial intimacy. This painting, translating to "Fruit Picking," features an evocative scene set in a lush garden dappled with sunlight. The canvas is alive with vibrant swaths of color, a typical hallmark of Bonnard's Post-Impressionistic style. At the heart of the composition are figures engaged in the timeless activity of harvesting fruits.A woman, draped in a dark, patterned shawl, gently handles the fruits, carefully selecting them from earth-toned baskets brimming with the day's yield. Her attention is focused and delicate, suggesting a deep familiarity with her task. Beside her, a child—perhaps her offspring—imitates her actions. This young figure reaches into a basket, mimicking the adult's careful selection process. Another child bends down in the background, partially obscured by the dense foliage, adding a playful mystery to the scene.Above them, the orchard is thick with greenery and sporadically adorned with oranges or peaches, their vibrant hues peeking through the leaves, infusing the scene with a sense of abundance and fertility. The brushwork is loose, almost frenetic, which energetically captures the shimmer of light on leaves and the texture of the woven baskets.Bonnard’s work is not just a depiction of rural life but a vivid palette of emotions, illuminating the everyday with a profound enchantment and respect for simple, pastoral activities.

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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.