Pierre Bonnar: how to become one of founders of a genre “ panel “?
Wishing to decorate the magnificent mansion on Prechistenka, the famous Moscow rich man and the collector I. Morozov in 1910 ordered a decorative panel to the French artist Pierre Bonnar to whom provided the photo of a ladder where it had to be placed, and specified a subject - the Mediterranean coast. Bonnar needed to consider the mass of things: both architecture of a lobby, and structure of the wall divided by two semi-columns and the fact that the panel will open to a look of the viewer walking upstairs gradually.
Pierre Bonnar resolved all these quite unusual requirements very originally. It united the triptych (and the wall dictated such form) uniform space and one motive so the image integrally fitted into architecture. On all three cloths the magnificent landscape recovered by sketches was presented: wide clumps of trees, sandy paths, solar patches of light and several figures (the girl with a cat, the woman with the child...) .
“ Mediterranean Sea “ it was cast by Bonnar`s trip in Sep - the Track. “ To go to the South, - he wrote mother, it was very attractive, and, really, I as though was included in the fairy tale from one thousand and one night: sea, yellow walls, light reflexes, same bright, as light! “
1910 - e years were for Pierre Bonnar time of opening of impressionism. It seems unexpected: the impressionism was not innovation long ago and as a current there were more than forty years. Much more current trends replaced it the stylistics which were in time to become a peculiar archaism. Paris already knew an expression in Van Gogh`s pictures, decorative effect of the line Toulouse - Lautrec, a color saturation of cloths of Gauguin. And Pierre Bonnar was one of bright figures of " group; Nab “ close to Paul Gaugin`s principles.
“ Instead of copying the nature, transferring it such what you see, - Gauguin said, - it is necessary to change it, to turn into game of bright paints, to emphasize simple expressive, original arabesques and to be pleasing them to the eye “. After Gauguin “ are filled “ wanted to create the modern art language organized under laws of decorative art.
Word “ nab “ in translation from Hebrew designates “ prophet “. Thereby “ are filled “ (and among them there were Maurice Denis, P. Seryuzye, Eduar Vyuyar and Bonnar) emphasized the dissociation with trite narrow-minded life. They consciously opposed themselves to the bourgeois petty-bourgeois environment and were drawn towards pure sublime creativity. Their esthetics was close to symbolism, and the graphic principles - to modernist style. “ Nabida “ dreamed of revival of synthesis of arts and therefore many of them worked in a book illustration and journal graphics, were engaged in decoration of interiors and a theatrical scenery. Pierre Bonnar did illustrations to Paul Verlaine`s verses, Jules Renard`s books and Mirbo`s Octave too, made out performances in symbolist theater “ Creativity “ drew posters and programs.
In the picturesque sphere “ are filled “ sought for illusiveness overcoming, they approved independent value of the plane of a canvas, a role of the line, a contour, arabesques. Their efforts in the French painting of a turn of centuries finally approved a genre of a decorative panel.
But in 1900 - x years the group broke up. Denis and Seryuzye evolved towards religious art, and Bonnar and Vyuyar were absolutely sincerely fascinated by the world of impressionistic painting which unexpectedly opened it. “ When we opened impressionism, it caused in us new explosion of enthusiasm, he was for us opening and release. The impressionism brought us freedom “ - Pierre Bonnar remembered.
He began to be interested in a landscape. Some time even worked in Zhiverni where then there lived one of outstanding impressionists Claude Monet, and often met it.
Morozov`s order which is initially assuming monumentalism of a form, and own interests of Bonnar who was drawn at this time towards the impressionistic principles appeared as it is impossible are more conformable in this cloth. Desires of the owner of a mansion and the artist were naturally coordinated together.
One of the most innovative and most impressive works of Pierre Bonnar was so born.