General Cemetery Project For Paris

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More about this artwork

This painting by Pierre Bonnard, titled "General Cemetery Project For Paris," presents an architectural plan rather than a traditional scene or portrait. The artwork depicts a highly structured and symmetrical plan for a cemetery, as indicated by its title.The layout is presented in a top-down view, showing an overall design that's geometric and ordered. At the core of the design is a central circular structure that could be interpreted as a mausoleum or main memorial, surrounded by various concentric circles that echo the shape of the central monument. This central part is intricately designed with several layers, creating a focal point that suggests significance and reverence.Flanking this centerpiece are curved paths or corridors leading to other parts of the cemetery, characterized by classical and ornamental stylistic elements. The green areas on both sides, dotted with tree symbols, likely represent planted sections that add natural elements to the layout, creating a serene and contemplative environment. The boundaries of the cemetery are marked by a scalloped red edge, adding another layer of decoration to the design.The painting's use of colors is subdued yet effective in highlighting different elements — the greenery, the architectural features, and the pathways. Bonnard’s approach transforms a mundane architectural plan into a piece of art that invites viewers to consider the aesthetic components of space and design in the context of reflection and remembrance.

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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.