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פייר בונארד (1867-1947)

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<div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div> <div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div> <div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div> <div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div> <div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div> <div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div> <div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div> <div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div> <div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div> <div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div>
La robe de chambre rouge (מארת בונרד) 1912 21 x 27 1/4 אינץ' (53.34 x 69.22 ס"מ) שמן על בד
מקור ומקור
גלרי ברנהיים-ז'ון, פריז, נרכש מהאמן
אלפונס קאהן, סן ז'רמן-אן-לה, נרכש מהנ"ל
Me Lair-Dubreuil, Hôtel Drouot, פריז, 20 בנובמבר 1922, חלקה 40 (תחת הכותרת 'La robe de chambre orange')
אז'ן בלוט, פריז, נרכש במכירה הנ"ל
Me Baudoin, פריז, 2 ביוני 1933, חלקה 33 (תחת הכותרת 'Femme assise dans un intérieur')
אוסף Huet, פריז, נרכש במכירה הנ"ל
ז'אק דופונט, פריז, דצמבר 1940
אוסף פרטי, מירידה מלמעלה
כריסטיס, פריז, אורגון... עוד...17 באוקטובר, 2018, מגרש 37
אוסף פרטי, נרכש במכירה הנ"ל
תערוכה
פריז, גלרי ברנהיים-ז'ון, בונרד, Œuvres récentes, 17 ביוני - 6 ביולי 1912, מס. 15
פריז, גלרי ברנהיים-ז'ון, פייר בונארד, Œuvres récentes, 19 במאי - 7 ביוני 1913
Paris, Galerie d'art Braun & Cie, Portraits de Pierre Bonnard, יוני 1933, מס'. 21, עמ'. 4 (שכותרתו 'פורטרט דה femme au turban')
פריז, גלרי פרומונט, La compagne du peintre, 1953
רוטרדם, מוזיאון Boymans-van Beuningen, Bonnard, 1953, no. 45 (מתוארך 'vers 1910-11')
פריז, Maison de la Pensée française, פייר בונרד, קיץ 1955, מס. 20
מינכן, האוס דר קונסט; פריז, Orangerie des Tuileries, Pierre Bonnard, Centenaire de sa naissance, 8 באוקטובר 1966 - 15 באפריל 1967, מס. 75
ספרות
Le courrier européen, 23 במאי 1913 (אייר, שכותרתו Étude de femme)
גוסטב קוקיו, Les indépendants, 1884-1920, פריז, 1921, עמ'. 78-79 (בציור)
גוסטב קוקיו, בונרד, פריז, 1922, עמ'. 54 (שכותרתו 'La robe de chambre orangée')
ליאון ורת', בונאר, פריז, 1923 (מצויר, עמ' 25)
אנדרה פייג', Le collectionneur des peintures modernes, פריז, 1930, עמ'. 252
Galerie d'art Braun & Cie, Portraits de Pierre Bonnard, פריז, 1933, מס'. 21, עמ'. 4 (שכותרתו 'פורטרט דה femme au turban')
מ.-ת. Mauguis, Arts, 25 ביוני 1955
Haus der Kunst & Orangerie des Tuileries, Pierre Bonnard, Centenaire de sa naissance, Munich & Paris, 1967, no. 75 (בציור)
ריימונד קוגניאט, בונאר, פריז, 1968 (מאויר על הכריכה)
Jean & Henry Dauberville, Bonnard, Catalog raisonné de l'œuvre peint, 1906-1919, Paris, 1968, vol. השני, לא. 674, עמ'. 247 (בציור)
... פחות...
"הגלימה האדומה" (מרתה בונארד) (1912) מאת פייר בונארד הוא דיוקן אינטימי ועשיר של המוזה ואשתו של האמן, מרתה דה מליני, שצויר ברגע שבו בונארד הגדיר מחדש את ציור הפנים המודרני באמצעות צבע, זיכרון וניואנסים פסיכולוגיים. יושבת ושקועה ברגע פרטי, מרתה עוטפת קרקע אדומה רוויה הנלחצת קרוב למישור התמונה, וממיסה את העומק המסורתי לטובת עוצמה כרומטית. גלימתה המעוצבת ופניה המעוצבים בעדינות בולטים מבעד לעבודת המכחול השכבתית של בונארד, שבה הצבע מתפקד פחות כתיאור ויותר כאווירה רגשית.





היצירה, שצוירה בשנת 1912, הוצגה בהרחבה משנת יצירתה, והופיעה בשבע תערוכות ברחבי פריז, רוטרדם ומינכן, מה שסימן את הכרתה המיידית בחוגי בונאר ובאוונגרד האירופי הרחב יותר. הציור מתגאה גם במקור מכובד, לאחר שעבר באוספים של האספן היהודי הצרפתי הנודע אלפונס קאהן; אז'ן בלוט, בעל הגלריה, האספן ופסל המשפיע; וז'אק דופונט, רוכב האופניים האולימפי המהולל.





"גלימת החדר האדום" פורסמה שבע פעמים, כולל קטלוג רייסון של בונאר משנת 1968, שם היא מופיעה כמספר 674. דיוקנאותיה של מרתה תופסים מקום מרכזי ביצירתו. דוגמאות דומות נמצאות באוספים הקבועים של מוסדות מרכזיים כמו הטייט, מוזיאון לאמנות מודרנית, גוגנהיים ומוזיאון המטרופוליטן לאמנות, ומדגישות את המשמעות המתמשכת של יצירות אישיות עמוקות אך רדיקליות מבחינה פורמלית.
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