Le Balcon Et L’ombrelle (1904)

Technique: Giclée quality print
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"Le Balcon et L’ombrelle" (1904) by Pierre Bonnard is a captivating work that draws viewers into a vibrant exploration of light and intimacy. Painted with the Post-Impressionist touch that Bonnard is famous for, this piece employs a palette of luminous colors and dynamic brushstrokes to convey a tranquil domestic scene.The painting showcases a figure, presumptively a woman based on the graceful outline and posture, standing on a balcony. This main subject is partly obscured by an umbrella, which introduces a rich contrast of dark blue against the lighter backdrop, adding depth and focus to the composition. The balcony rail is adorned with an array of floral shapes, suggesting a domestic space that opens onto a lush garden or verdant outdoor surrounding.In the background, we can see an impressionistic depiction of a garden or park, painted in loose, vibrant strokes of green, blue, and white, evoking the lushness and movement of foliage and open air. The texture and thickness of the paint application imbue the scene with a sense of immediacy and the personal touch of the artist’s hand."Le Balcon et L’ombrelle" stands out as a reflective piece, inviting the viewer to ponder the quiet moments of everyday life through Bonnard's expressive and saturated use of color and form. The scene is intimate and yet open, private and also expansively connected to the natural world, a duality that Bonnard masterfully presents through his art.

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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.