André Mellerio, La lithographie originale en couleurs (1898)

Technique: Giclée quality print
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More about this artwork

The cover art for "André Mellerio, La lithographie originale en couleurs" by Pierre Bonnard offers a striking visual synthesis of the themes and technical artistry discussed in Mellerio's 1898 publication on original color lithography. Bonnard, a key figure in the post-impressionist movement and a master of the intimate decorative style, uses a seemingly spontaneous and vibrant approach to evoke the dynamic essence of lithographic art.In this piece, the viewer is greeted with a bold, expressive text that dominates the composition: "LA LITHOGRAPHIE EN COULEURS" boldly inscribed across the center in dark, robust letterforms contrast against the textured, light-colored background, suggesting the paper’s tactile quality. Beneath this powerful statement lies a jumble of sketch-like illustrations that capture the chaotic beauty of the artistic process. These include what appear to be brushes, scattered blobs of ink or paint, and fragmented drawings that evoke the motion and activity inherent in the creation of lithographic art.The choice of a rough, almost hastily executed sketch style by Bonnard reflects the urgent, revolutionary spirit of color lithography as it emerged as a popular medium at the turn of the 20th century. This style invites the viewer to consider the artistic process — the raw energy and vibrant color that Mellerio celebrated in his texts.

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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.