Pierre Bonnard: Designed by India Mahdavi

Assessment 2 – Writing for Publication
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Assessment 2 – Writing for Publication
Introduction
Even though the 'Painter of Happiness’ by Pierre Bonnard had been postponed for three years, it finally secured airtime at the NGV. One of the reasons is that Bonnard was among the most beloved painters of the 20th century. Since its opening on June 9, this exhibition has had many works designed by award-winning designer India Mahdavi. One of the unique features Bonnard had was that he opted to work from memory, making him one of the most beloved French painters. Most people were revering to him for his iridescent palette, which uses color to show fleeting moods, emotions, and moments. Most of Bonnard’s paintings show intimate domestic interiors in addition to the natural landscapes with subtle and sensual color and light use. His paintings were curated by Paris’s Musée d’Orsay in collaboration with the NGV, making this world-premiere exhibition bring back 19th and 20th century France to Melbourne, having paintings, decorative objects, and photographs. Referred to as the "processor of perfect chromatic pitch" and "virtuoso of color" by the New Yorker, India Mahdavi, a Paris-based architect, has created an exhibition scenography that envelops Bonnard's different works in an environment which is complementing his use of color and texture. The following work is outstanding, evident by the number of individuals it has attracted around the globe.[P. Bonnard, ‘Pierre Bonnard: Designed by India Mahdavi.’ 8 June 2023. < -orsay.fr/en/whats-on/exhibitions/pierre-bonnard-designed-india-mahdavi > 4 August 2023.] [S. Swire, ‘Pierre Bonnard: Designed by India Mahdavi.’ June 8, 2023. < /melbourne/art/pierre-bonnard-designed-by-india-mahdavi > August 4, 2023.] [P. Bakshi, ‘Night at the Museum: The NGV Premieres 'Pierre Bonnard: Designed by India Mahdavi,' In Partnership with Net-A-Porter' Grazia, June 8, 2023, August 4, 2023.]
Theater of Everyday
In this picture, Pierre Bonnard had an outstanding painting that describes the life that he experienced during his early years. The following image mainly has dark colors like black, brown, and grey. For instance, after he finished school in Paris, he studied art. He started his studies at the Académie Julian in 1887. Two years later, he moved to École des Beaux-Arts. This same year, he rented a studio in the Batignolles. This was a working-class district that was based in northeastern Paris. This was a huge achievement since, this time, he stopped straying very far and moved into other apartments and studios in Montmartre for the next years.[V. Skalleberg ‘NUDE (APRÈS LE BAIN): An Inter-Disciplinary Technical Study of an Oil Painting on Cardboard by Pierre Bonnard’ 2020.]
Furthermore, this painting represents Bonnard's urban Paris experience during the 1890s, affecting his daily walks where he was observing what he was referring to as the 'theatre of the everyday.' Despite this demand, he usually projected himself as passers-by imagined lives similar to flâneur or stroller. This was triggered by Charles Baudelaire, the poet who wrote that 'modernity is ephemeral, transient, contingent' in 1863. During this period, Claude Terrasse introduced him to his brother-in-law to his brothers Louis Lumière and Auguste. These brothers had qualifications, having pioneered cinema in France. This introduction played a huge role in influencing Bonnard's art during this time. This painting was painted in 1894 and describes Bonnard's life.
The Nabi Years
The following painting has eye-catching colors. This painting has an image of a man, several women, and a painting. Even though the painting has various colors, the most predominant color is green since these individuals seem to be within a forest. This image is also representing Bonnard's life. While Bonnard studied how to draw in the late 1880s at Académie Julian, he became friends with fellow students such as Maurice Denis, Paul Sérusier, Paul Ransom, and Henri-Gabriel Ibels. This friendship shaped his painting path. For example, it was through Denis that two other artists, Ker-Xavier Roussel, and Édouard Vuillard, joined the circle while Swiss painter Félix Vallotton and Aurélien Lugné-Poe, a budding theater director and actor, made this group grow further in the early 1890s.[R.T. Clement, ‘French symbolists: A Source on Puvis de Chavannes, Gustave Moreau, Odilon Redon, and Maurice Denis’ 30 August 1996 < ISBN-13 ‏ : ‎ 978-0313297526 > 4 August 2023.]
The following group was critical in his painting career. For example, they formed an artist's club to encourage one another to be transformative and groundbreaking in their art model. This motivation was according to their adherence to their adopted name, 'Les Nabis.' The following name was from a Hebrew name Navi, meaning 'prophet.' This was why they called themselves the prophets of a new design-based art that included every modern life sphere. The following sphere comprised the interior design, fans, furniture, stained glass, textiles, advertising, and commercial illustration. The main inspiration for this group was the Japanese reverence for the natural world and aesthetics. They also took a notion from Paul Gauguin. For instance, they employed a perspective of working with pure, non-mimetic color, applying the flat surfaces in service to an idea instead of imitating nature. This was the main reason green was prevalent in this painting.
Music, Theatre & Family
The following painting is mainly showing the importance of family. For example, the painting contains four people that are two families. This painting also has outstanding colors that make it eye-catching. This painting also has a close correlation with Bonnard’s life. In 1890 André, Bonnard’s sister, married Claude Terrasse. Terrasse was important because he was a composer and a music teacher. This marriage was a blessing to Bonnard since it helped him to improve his skills. Bonnard collaborated with Terrasse on showing Terrasse’s musical primer children and musical scores. This collaboration made Bonnard move into the studio at 28 rue Pigalle, located in the ninth arrondissement also played a critical part in achieving his goal. For example, he shared ideas with Vuillard, Maurice Denis, and the young actor Aurélien Lugné-Poe.[P. Bonnard, ‘Pierre Bonnard: The Graphic Art’ Metropolitan Museum of Art, September 10, 2013, August 4, 2023.]
The following collaboration was critical since it was through Lugné-Poe's connections. For instance, he became involved in Paris's contemporary experimental theater scene through this. On the other hand, he enjoyed a connection when Paul Fort, Lugné-Poe's friend, founded Théâtre d'Art, conceived due to opposition to the naturalistic in French theater prevailing taste. During this period, Bonnard was assigned to design the playbills and stage sets for Fort's Théâtre d’Art productions. This experience helped him to later work in the Théâtre de l’Oeuvre, Lugné-Poe’s own theatrical company that was staged in 1896 based on Alfred Jarry’s controversial play Ubu Roi.
In addition to working in music and theater, he was an early adopter of photography. For example, he purchased a roll-film hand Kodak camera after its launch in 1888. He was most of the time using his camera to record joyous family holidays, which he was having with her sister Andrée and her growing family at Bonnard's family's country property near the Grenoble. These photographs were critical since he drew the moments regarding the unexpected movement and impromptu composition as he composed his paintings.
Large Decorations
The following painting is outstanding since it reflects the individuals that are in a market. This painting portrays high creativity since many people, buildings, and even cars exist. This painting is also representing Bonnard’s life. For example, in 1906, Bonnard had a business where he entered a selling agreement with the Bernheim-Jeune brothers. The main reason for this collaboration was that they owned a contemporary art gallery in Paris. This collaboration was important for him since it helped him in his late thirties to attain financial prosperity. He also had huge commissions for the homes of influential patrons. The common patrons were Ivan Morozov and Misia Godebska. Due to this process, he combined his talent for decorative and his interest in large easel painting to attain an outstanding result. The following paintings featured idealized landscapes or mythological scenes, which evoked an Arcadian world.
Nevertheless, these idealized subjects were only featured less since Bonnard's work was progressing, which made his interest in form and color take over. This was when he experienced his first light regarding the south of France, which transformed ...