Pierre Bonnard, Dining area at Le Cannet, c. 1932 (detail) oil on canvas 81.0 × 90.0 cm Musée d’Orsay, Paris On deposit at Centre P ompidou, Paris, Musée national d’art moderne-Centre de création industrielle Acquired from the State, 1933 Photo © Centre P ompidou, MNAM-CCI, Dist. RMN-Grand Palais / image Centre Pompidou.
Pierre Bonnard French 1867–1947, Nu accroupi au tub, 1918, oil on canvas, 85.3 x 74.5 cm. Musée d’Orsay, Paris Gift of Zeïneb and Jean-Pierre Marcie-Rivière, 2016.
Pierre Bonnard, French 1867–1947, Le boxeur (portrait de l’artiste) 1931 oil on canvas 54.0 x 74.3 cm Musée d’Orsay, Paris Gift of Philippe Meyer, 2000.
Pierre Bonnard, French 1867–1947, Coffee, 1915 oil on canvas 73.0 x 106.5 cm Tate, London Presented by Sir Michael Sadler through the NACF 1941 Photo © Tate.
Pierre Bonnard, The window, 1925, oil on canvas, 108.6 × 88.6 cm Tate, London Presented by Lord Ivor Spencer Churchill through the Contemporary Art Society, 1930 Photo © Tate.
Pierre Bonnard, French 1867–1947, The dining room in the country, 1913 oil on canvas 164.5 × 205.7 cm Minneapolis Institute of Arts The John R. Van Derlip Fund Photo: Minneapolis Institute of Art.
Pierre Bonnard, French 1867–1947, Stairs in the artist’s garden, 1942–44 oil on canvas 63.0 x 73.0 cm National Gallery of Art, Washington, DC Ailsa Mellon Bruce Collection Photo: National Gallery of Art, Washington, DC.
Pierre Bonnard, French 1867–1947, Dining room overlooking the garden (The breakfast room), 1930–31 oil on canvas 159.6 x 113.8 cm The Museum of Modern Art, New York Given anonymously, 1941 Digital image © 2023, The Museum of Modern Art, New York / Scala, Florence.
Pierre Bonnard, Twilight, or The croquet game, 1892 oil on canvas 130.0 × 162.2 cm Musée d’Orsay, Paris Gift of Daniel Wildenstein through the Society of Friends of the Musée d’Orsay, 1985 Photo © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski.
Perhaps you know Pierre Bonnard for his vivid, emotive displays of landscapes and interior settings, luminous with colour. Or his women walking with parasols, cast within an Impressionistic, refined haze. Maybe it’s the intimate portraits of Marthe, his wife and muse. This winter the National Gallery of Victoria will host such images with Pierre Bonnard: Designed by India Mahdavi.
Bonnard (1867-1947) was a leading French painter, illustrator and printmaker, and founding member of the post-impressionist group ‘Les Nabis’. Celebrated for his use of colour to convey emotion, he captured landscapes, urban sites, portraits and intimate domestic scenes.
Interestingly, Bonnard did not want his works to be presented in a white cube environment. Miranda Wallace, a senior curator at NGV, elaborates: “He was committed to the integration of art into everyday life, and intended his works to hang in refined yet personal domestic spaces.”
To honour this, around 100 of Bonnard’s paintings will sit within scenography (the French term for exhibition design) created by India Mahdavi, a renowned Iranian-French architect and designer. Mahdavi was commissioned to cocoon Bonnard’s works in distinctive wallpapers, carpets and furniture. The scenography is integral, showcasing Mahdavi’s renowned use of colour, structure, and texture, and placing Bonnard’s work in conversation with a contemporary creator.
For Wallace the affinities between Bonnard and Mahdavi are many: “They are both extraordinary colourists. They share an interest in the domestic sphere; both have meditated on and dealt with the idea of ‘home’.” While the distinctive display draws out the immersive and decorative aspect of Bonnard’s paintings, central to the pairing is a sense of pace. As Wallace explains, “Bonnard’s works reveal themselves to you over time. Details initially obscured by a busy dining table or camouflaged amid the artist’s overgrown garden emerge gradually, and often unexpectedly.”
Pierre Bonnard: Designed by India Mahdavi
National Gallery of Victoria
9 June—8 October
This article was originally published in the May/June 2023 print edition of Art Guide Australia.
The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country. More than maps, they speak to ancestral songlines, place and ceremony.
A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful, Enninful x Mapplethorpe, at the 2025 Ballarat International Foto Biennale, finds resonance in opposites while turning binary thinking on its head.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
At 90, Janet Dawson has spent a life drawn to the light and energy of the natural and celestial worlds as she crosses boundaries of abstraction and figuration. A retrospective at the Art Gallery of New South Wales charts the evolution of her practice.
For decades, beginning well before the advent of social media, Barbara Kruger’s prescient use of words and text has invited people to consider their context in contemporary society. In Brisbane, between 4–7 September, audiences may experience her concise, dynamic aesthetic within the internationally acclaimed Gems delivered by choreographer Benjamin Millepied and the L.A. Dance Project.
A new exhibition at Buxton Contemporary finds a rich complexity in the shadowy terrain between life and death.
