Pierre Bonnard, ‘Salon Des Cent - 23rd Exposition’, 1896, Omnibus Gallery

Year: 1896
Country: France
Condition: A-
This poster is one of the most important graphics of the Turn Of The Century period. When you pair this poster next to the original art work / maquette (which we also have for sale), you can see the many changes Bonnard made while he created the stones. In the maquette there is only the leash and no dog among other things. He also became more daring in this graphic in the way he treated the woman's dress and this is important. With few exceptions, until that time, objects were complete and nothing was left to your imagination.

Bonnard only illustrates the line of the ladies shoulder and the top of her dress, and then you can see the dress again on the ground. Your mind makes up the rest of the shape of the dress even though the line is incomplete. If you take this concept of the mind recognizing objects even though they are incomplete even further, you evolve into Cubism, Abstraction, and all sorts of styles causing people to go nuts because the art was changing radically and they wanted their old pillow and blankie back.

This poster was created for an exhibition of the Salon des Cent, a commercial art exhibition in Paris. The Salon des Cent was a group of one hundred artists, hence the name, though there never was a precise list and the participation varied. The salon had no jury and no prizes, and the artists could choose what they wanted to exhibit, being constrained only by the available space. The Salon des Cent publicized itself as a permanent, constantly changing exhibition of its members' works

Signature: Signed by the artist in stone, middle right side.

About Pierre Bonnard

Known for painting light-soaked interiors, nudes and still lives, Pierre Bonnard’s lush canvases echo Claude Monet and Henri Matisse. Bonnard played a central role in Nabis, a group emphasizing the basic aesthetic properties of painting. Describing his method, Bonnard has said, “the principal subject is the surface, which has its color, its laws over and above those of object.” Rather than simply observe and reproduce the world around him, Bonnard sought to instill each picture with, in the words of Nabis colleague Maurice Denis, “a beauty outside nature.”

French, 1867-1947, Fontenay-aux-Roses, France, based in Paris, France