Marthe had another identity as a painter who displayed her work under the name of Marthe Solange. He then used the drawings to prod his memory when painted the image on a canvas. Pierre Bonnard (October 1867 – 23 January 1947) was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. ... Marthe de Méligny—Bonnard transformed traditional art historical subjects and images of his everyday world into bold experiments in color, pattern, and composition. Bonnard’s companion, Marthe de Méligny, whom he met in 1893 and eventually married in 1925, was a source of constant inspiration. Pierre Bonnard used stunning colour to depict moods and moments, both happy and melancholic. It’s as if you’ve been lured to the open window by the cool greens and blues and on the way, become so absorbed by the lilacs, oranges, and yellows that it takes time to notice Marthe quietly sitting in the chair. This emerging and melting quality of subject and color, an element of Bonnard’s greatest paintings, began to elude him when he painted from a live model, even Marthe. The human figure is believed to be Bonnard's wife Marthe de Meligny. Both were his models and both were his … Bonnard; Nude in the Bath (Nu dans la baignoire), 1925; oil on canvas; Tate, London. For many of us stuck here in the grey fastness of a London winter, a visit to the 2019 Pierre Bonnard exhibition has brought some welcome relief. “If you paint directly from a subject, your thoughts about the subject change as you paint,” he said. But the gap between them worked well in some ways. What is in shadow? Pierre Bonnard painted four versions of Nude in the Bath. The tub, the water, and her body are painted with barely distinguishable changes of color that float very slowly and softly across the canvas, like an expanse of sky. To see the fireplace, the door, the corner, the radiator, and the porch doors in real life from the perspective he’s shown in the painting, you’d have to move to different positions around the room. Podpatrywanie jej nieuprawnionym okiem, skradanie się za niedomkniętymi drzwiami łazienki po to, żeby następnie przenieść na płótno niezgrabne kobiece gesty, wykoślawione akrobatycznie ciało, złamanie tabu prywatności.Podglądamy kobiety przez dziurkę od klucza. He formed two very passionate attachments during their relationship and the late marriage raises the question of whether he contracted it in order to reassure her of his loyalty as their erotic attraction declined. What are the strange patches of white beside his shoulder? During the late 1800s, Bonnard received a commission to create a series of drawings as illustrations for Paul Verlaine’s poetry collection, Parallèlement. Bonnard was een stille man, introvert. Delistraty Cody. The clutter of unstable objects should slip off the tipped table but are glued in place optically by the bright white tablecloth. Zijn vrouw, Marie Boursin alias Marthe de Meligny, speelt een hoofdrol in zijn oeuvre. Soon after Bonnard and Marthe met in 1893, he created several paintings that depict a young woman pulling on a pair of black stockings. Many of them allow glimpses into a private world, depicting the domestic life that Bonnard shared with his companion, Marthe de Méligny. In those mature works his interest in colour really shines. Bekijk meer ideeën over pierre bonnard, impressionisme, schilder. For example, the white lines in the radiator are counterpointed by the lines in the clothing that covers Marthe’s arched back; she almost blends into the floor. He then used the drawings to prod his memory when painted the image on a canvas. “You can’t imagine my grief and the full extent of my sorrow,” he wrote to Matisse. The art of Pierre Bonnard (1867-1947) conjures up images of intimate bourgeois interiors suffused with high key, sun-drenched colour. Zij was twee jaar ouder dan hij. An art historian uncovers the truth about Marthe Bonnard, for decades labelled as a jealous recluse with a neurotic need to bathe. Pierre Bonnard – The Bowl of Milk (c.1919 oil paint on canvas) She moved north to Paris in 1891, reinvented herself as an orphan child whose new name, de Meligny, faintly suggested aristocratic origins and supported herself by sewing pearls onto artificial funerary flower arrangements. The Paris Review, Bonnard: Drawing Color, Painting Light; Art Critical; March 9. Marthe was not beloved among Bonnard’s friends. Pierre Bonnard met his future wife, Marthe de Meligny, in 1893 and she became a frequent subject in his paintings for decades, including multiple nudes. Vojeryzm, czyli podglądnie kobiety w intymnej sytuacji toalety. In 1893, the normally shy Bonnard followed a young woman who who went by the name of Marthe de Méligny from a tram stop. https://www.metmuseum.org/toah/hd/dcpt/hd_dcpt.htm, The Man and the Woman; National Gallery of Australia, Vermilion in the Orange Shadow: Bonnard’s Late Paintings. Drawings also allowed Bonnard to work out novel ideas for the composition before committing to paint on canvas. During the late 1800s, Bonnard received a commission to create a series of drawings as illustrations for Paul Verlaine’s poetry collection. For him, yellow is the color that describes light, that gives off light, that is light. In light? This is the case of the exhibition currently at the Musée d’Orsay and of Pierre Bonnard’s tragic muse Marthe de Méligny’s phantom who, 73 years after her death, is still enlightening the extraordinary successful post mortem career of her not always devoted husband. He showed remarkably little curiosity about her past and only discovered that she was eight years older than she’d told him, when they married in 1925. The Spinario, or The Thorn Puller was a Hellenistic statue (now lost) that became widely known through a Roman marble copy; many other copies were made over hundreds of years. An art historian uncovers the truth about Marthe Bonnard, for decades labelled as a jealous recluse with a neurotic need to bathe. The intimate domestic scenes, for which he is perhaps … Christian Dior: Designer of Dreams. “I don’t know how long I remained sitting opposite Bonnard … hours. Twintig jaar nadat ze zijn leven instapte, huwde Pierre Bonnard met Marthe. ... the view from a window or his lifelong partner Marthe De Méligny … The crowds at the Tate Modern don’t care if Picasso didn’t think he was a painter and didn’t even want to hear him talked about as a painter. The spots on the cat beside her echo the pattern on the marble floor in front of the fireplace. Inspired by the decorative qualities of the Flemish tapestries that he saw at Musée de Cluny in Paris – large flat surfaces filled with areas of color, patterns, and strong lines – he wove his colors and lines together so that her clothing, the material upon which she sits, and even the surface of the canvas appear to be entwined. In his last three paintings of Marthe outstretched in the bath, Bonnard portrays her as he did in every other painting, as the young woman he met thirty years earlier. En 1893, Pierre Bonnard rencontre Marthe, qui se fait appeler Marthe de Meligny. The spatial field in White Interior is much wider than what the eye could take in at a single glance. In wezen heeft hij zich onafhankelijk van de rest van de wereld ontwikkeld. The exhibition is accompanied by a catalogue raisonne which has been a valuable resource in putting this article together. The human figure is believed to be Bonnard's wife Marthe de Meligny. This makes clearer what one can, in any case, see in so many of Bonnard’s paintings: that the people he painted were neither holding a pose nor engaged in any strenuous effort, but simply going about their everyday lives at home. The composition is held together by an imaginary 4×4 grid: the implied vertical sections created by the four wall tiles and four horizontal areas – the tiles again, the white side of the bathtub, her immersed body, and the rim and the floor. In 1893, the normally shy Bonnard followed a young woman who who went by the name of Marthe de Méligny from a tram stop. Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. Sometimes he borrowed the position of an arm or a profile. They removed several interior walls to create a greater sense of space, added French windows let in more light, added a two-story art studio for him, and a modern bathroom – with full-length tub – for Marthe. Their relationship was a strained one, made worse by Bonnard's infidelity. Marthe Bonnard is a perpetual presence throughout the artist Pierre Bonnard’s work. Still, it’s no surprise though that even one of Bonnard’s admirers, the art historian Linda Nochlin, was driven to exclaim: “…I am … so repelled by this transformation of woman into thing .., such melting of woman into the object of molten desire of the male painter, that I want to plunge a knife into that delectable body surface and shout “Wake up. Might Bonnard be looking out of the painting and back into it again through a mirror? Such a nice and superb article upon the topic in detail.I enjoyed reading this article!! During the Nazi occupation of France, shortages of fuel and food left them housebound. Bonnard: schilder van prachtige landschappen, van stillevens en keukentafels met rood wit geblokte tafellakens vol fruit, en van zijn vrouw, Marthe de Méligny. Space opens and then flattens again against the canvas. Bonnard preferred to work from memory, using drawings as a reference, and his paintings are often characterized by a dreamlike quality. Sorry, your blog cannot share posts by email. Pierre Bonnard (1867-1947), The Bathroom (The Dressing Room with Pink Sofa) (1908), oil on canvas, 125 x 109 cm, Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium. Bonnard forlod Paris i 1910 og slog sig ned i Sydfrankrig. In wezen heeft hij zich onafhankelijk van de rest van de wereld ontwikkeld. On the left side, the horizontal and vertical lines (that I highlighted in red) create the illusion we’re looking into a room that’s almost directly in front of us. Change ). Marthe Bonnard is a perpetual presence throughout the artist Pierre Bonnard's work. (“Cubism left me hanging in the air,” said Bonnard.) -- Pierre Bonnard Pierre Bonnard was 26 years old and already an artist when, on a Paris street in 1893, he met the woman who would become his model, mistress, and wife. Artist Unknown, Italian; Spinario (after the Antique), late 1800s; bronze; Philadelphia Museum of Art. Left: Photo by Pierre Bonnard; Marthe Drying Her Leg, c. 1900 and Right: Woman Bending Over [Toilette ou Femme Penchèe], 1907; oil on canvas; Niigata City Art Museum, Japan. It wasn’t an obsession – just routine. Marthe’s pose, and that of her small dog, recall a pose made famous by a classical sculpture, Sleeping Hermaphrodite, which Bonnard may have seen in the Louvre. Domestic scenes often include his wife Marthe de Meligny. Bonnard preferred to work from memory, using drawings as a reference, and his paintings are often characterized by a dreamlike quality. In the final painting, the shape of the bathtub conforms to the curves of the head, bent right knee, and extended left leg. It wasn’t an obsession – just routine. Marthe Bonnard by Pierre Bonnard, 1895-1900. Hun var født Maria Boursin, men kaldte sig Marthe De Meligny. Bonnard’s luminous brushstrokes of color that suggest form and space became less constrained. (See. https://www.independent.co.uk/life-style/art-chez-bonnard-the-home-that-shaped-the-master-1141995.html, https://newcriterion.com/issues/2002/12/bonnards-butterflies, https://www.youtube.com/watch?v=YcqLCHVsrJ4, https://www.sothebys.com/en/artists/pierre-bonnard?locale=en, https://www.metmuseum.org/toah/hd/dcpt/hd_dcpt.htm, Follow The Art of Seeing – Explore Works from Philadelphia's Museum of Art and Rodin Museum on WordPress.com. Met Marthe heeft hij zijn leven vanaf zijn 25e tot aan zijn dood gedeeld. Get out of the bath tub and dry off”. transform a white tablecloth to cool blues, brush across a door, penetrate through windowpanes, cast shadows, highlight the transparent curtain to the right of the open door, and waft through the layers of space behind the curtain to lead us back outdoors. Pierre Bonnard. So omnipresent is Marthe in his paintings, in fact, that Julian Barnes called his… The Paris Review, March 13, 2019. Another notable feature of Bonnard's work is the near-ubiquity of his mistress, muse and - eventually - wife, Marthe de Méligny. ( Log Out / “You’ll Never Know Yourself: Bonnard and the Color of Memory”. She worked at the Maison Trousselier making artificial flowers. Photo: Marthe de Méligny. Bonnard; Reflection (The Tub); 1909; media unknown; Private Collection. On the other side, Bonnard, who is standing and holding a white sheet or towel, is viewed from a different angle. Light streams in through the window in the upper left corner and permeates everything it touches – the floor, walls, shutters, towels, objects on the table – and casts the shutter’s shadow on the wall and towel behind her. Pierre Bonnard was 26 years old and already an artist when, on a Paris street in 1893, he met the woman who would become his model, mistress, and wife. Their relationship was complicated by Bonnard’s infidelity. He must have known that a girl engaged in her occupation really wasn’t concealing an aristocratic background and he did not tell his wealthy family about her existence, even after their marriage. The zig-zag pattern in the mirror draws attention to the width of the space that is simultaneously behind and in front of us as well as flat against the wall. Marthe benefited from his riches and her lack of presentability freed him from the constraints of bourgeois respectability. The intimate domestic scenes, for which he … At other times, he appropriated the entire pose. Photographs also allowed him to investigate a compositional device that he came to use frequently, creating a painting around an empty space – round or oval tubs and then later, rectangular windows and doors – as a visual entry point into the picture. … After long days of painful loneliness … I am preparing to return to Paris where I will be closer to my family. He reworked the pose in many of the images of Marthe seated in the bathroom washing or powdering her feet. ... Marthe de Méligny—Bonnard transformed traditional art historical subjects and images of his everyday world into bold experiments in color, pattern, and composition. The blonde woman in The Open Window may also be Renee Monchaty, with whom he fell in love around 1917 and who killed herself in 1923, after Bonnard left her to be with his spouse. Pretend to split the canvas into two vertical sections. ... the view from a window or his lifelong partner Marthe De Méligny stretched out in a … *The quote from Linda Nochlin appears on page 207. window.dataLayer = window.dataLayer || []; Pierre Bonnard – Siesta (1900), oil on canvas Bonnard; Dining Room in the Country (Salle à manger à la campagne), 1913; oil on canvas; Minneapolis Institute of Art. Marthe's ablutions provided Bonnard with his best-known theme. Review by Carla Scarano. Worked from memory, using drawings as a reference. Pierre Bonnard met his future wife, Marthe de Meligny, in 1893 and she became a frequent subject in his paintings for decades, including multiple nudes. He continued to work on it for several more years. Marthe de Meligny was born Maria Bouchon in 1869 to a modest family in the Berry region. Left: Bonnard; Marthe au tub, 1908-10 and Right: Bonnard; Nude Crouching in the Tub, 1918; oil on canvas; Musée d’Orsay, Paris, He soon found the single viewpoint of a photograph too limiting and began to fill notebook with sketches of whatever struck him in a particular moment. Thank, Faith. The figure’s pose, a child-like lack of self-consciousness, inspired many artists, including Bonnard. On the left side of the painting, Marthe, viewed from above, sits on a bed and plays with two kittens. The landscape that can be seen through the doors and windows is also reflected in the windows of the open door. In those mature works his interest in colour really shines. They married in 1925. Bonnard; Standing Nude with Head of the Artist, 1930; charcoal on paper; location unknown, Left: Bonnard; Study for Man and Woman, c. 1899, pencil on paper; location unknown and Right: Bonnard; The Man and The Woman, 1900; oil on canvas; Musée d’Orsay, Paris. Pierre Bonnard (1867-1947), The Bathroom (The Dressing Room with Pink Sofa) (1908), oil on canvas, 125 x 109 cm, Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium. Indeed, as he reworked her image repeatedly over the years, her face remained indistinct and her body unmarked by age. The tub is so tilted that water might slosh out of the canvas. On the right side, the lines that imply space and the position of objects (highlighted in various colors) suggest we’re looking diagonally into the room. Bonnard’s paintings of Marthe, more than anything else in his body of work, show the development of his style from its beginnings to its maturity. Keep in mind that every color, every line, every shape, and every brushstroke was a thoughtful, deliberate choice that Bonnard made after ruling out every other option. Bonnard’s paintings became more complex spatially as he relied increasingly on drawings as starting points for his paintings. Again, Marthe is the model. Left: Bonnard; An illustration for Paul Verlaine’s poetry collection, He soon found the single viewpoint of a photograph too limiting and began to fill notebook with sketches of whatever struck him in a particular moment. Marthe, whose health was deteriorating, remained his principal subject and his colors became more intense and expressive. Bonnard; After the Shower, 1914; oil on canvas; Philadelphia Museum of Art. Marthe was not beloved among Bonnard’s friends. Pierre Bonnard stierf vijf jaar later. The paintings of Pierre Bonnard (1867-1947) create a remarkable sense of intimacy. Mostly, Bonnard painted his companion since 1893, Marthe de Méligny, though sometimes his model and, later, lover Renée Monchaty. Their relationship was a strained one, made worse by Bonnard's infidelity. See more ideas about pierre bonnard, pierre, post impressionists. gtag('config', 'UA-41289201-1'); the international online cultural magazine. In Siesta, Marthe appears to be slipping off the bed yet the strong diagonal created by the table to her right reinforces the line of her upper left leg and visually pushes her up and back onto the bed. Left: Bonnard; Woman with Black Stockings (La Femme aux bas noirs), 1900; Private Collection and Right: Bonnard; Woman with Black Stockings (La Femme aux bas noirs), 1900; oil on cardboard; Rosengart Art Museum, Lucerne. Marthe’s well-known distaste for keeping company must also have proved convenient as Bonnard’s craving for solitude grew with age. Change ), You are commenting using your Twitter account. (See Bonnard, Part Two). In the real bathroom, the walls were covered with white ceramic tiles that had a small indent in the center, which intensified the reflection of light. Bonnard reinvents the laws of perspective to give a spontaneous, snapshot-like quality to the painting. Each dab of white, the matrix that holds it all together, gives weight and form to each object and is also rhythmically connected to the rich reds and apricot yellows throughout the composition. Pierre Bonnard, Coffee, 1915, Tate, London, UK. The rest of the bathroom is kept landlocked by the slippered foot that enters from the left and anchors the rug. and by placing advancing warm colors (orange, yellow) in the “distant” (top) areas of the painting and receding cool colors (blue, violet) in the “closest” (bottom) areas of the canvas. Sep 8, 2016 - French 3 Oct1867 – 23 Jan 1947 founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Pierre Bonnard Pierre Bonnard Salle à manger op het platteland, 1913 Frans post-impressionistisch schilder, geboren 13 oktober 1867 te Fontenay-aux-Roses - overleden 23 januari 1947 in Le Cannet. Indolence is considered to be one of Bonnard’s greatest paintings from his early period because it illustrates several features that became characteristic of his work: the subject and paint are enmeshed, the flat perspective appears to push shapes up to the canvas’s surface, and an expanse of empty space across the picture’s surface. Pierre Bonnard painted four versions of Nude in the Bath. Life with Bonnard cannot have been easy for Marthe. Neither was very interested in domestic comfort and they both enjoyed moving around whenever they pleased. The exhibition focuses on artworks Bonnard painted after 1900. gtag('js', new Date());
Met Marthe heeft hij zijn leven vanaf zijn 25e tot aan zijn dood gedeeld. Bonnard preferred to work from memory, using drawings as a reference. He is currently on a leave of absence from the Philadelphia Museum of Art and living in Mexico. We didn’t need to explain ourselves.”, Henri Cartier-Bresson; Pierre Bonnard in his studio, 1944, Top Image: Bonnard; Still Life with Figure, 1912; oil on canvas; Private Collection. Zij maakten kunst waarin alles draaide om kleur, expressie en decoratie. The case itself is the first appearance, to my knowledge, of the intriguing story that Marthe first introduced herself to Bonnard with the fictitious name of de Méligny and a false story about being an orphan. This is the case of the exhibition currently at the Musée d’Orsay and of Pierre Bonnard’s tragic muse Marthe de Méligny’s phantom who, 73 years after her death, is still enlightening the extraordinary successful post mortem career of her not always devoted husband. Bonnard used photography as a tool to move away from conventional modeling and composition: many snapshots from daily life can be traced later in his paintings. Pierre Bonnard (1867-1947) maakte naam als lid van de Franse groep kunstenaars Les Nabis, een groep waartoe ook Edouard Vuillard en Félix Vallotton behoorden. Bonnard; Nude in the Bath and Small Dog, 1941-46; oil on canvas; Carnegie Museum of Art, Pittsburgh, Fellow friend and artist Maurice Denis said, “These intimate scenes by Bonnard, these young women dreaming, doing their hair, undressing, these women sewing, or reading, these bathers with their lissome bodies and pink thighs, all are imbued with tenderness, with optimism, and, in a word, poetry.”, Marthe died in 1942, at age seventy-two, before Bonnard finished Nude in the Bath and Small Dog. Each is an opportunity for us to wander and wonder why. “You’ll Never Know Yourself: Bonnard and the Color of Memory”. The walls are now an abstract succession of overlapping planes that, like the squeezed bellows of an accordion, that recede and emerge as your eye moves across the canvas. Pierre Bonnard (1867-1947) maakte naam als lid van de Franse groep kunstenaars Les Nabis. At first glance, they appear to be straightforward images from their daily life but very little about them is straightforward. Change ), You are commenting using your Facebook account. Painting Her Presence – Pierre Bonnard’s Paintings of Marthe de Méligny (Bonnard, Part Three) Posted by Meighan Maley The images and text correlate best when viewed on a wide screen rather than on a phone or on an iPad. His paintings have a dreamlike quality. The images and text correlate best when viewed on a wide screen rather than on a phone or on an iPad. She relished hours in the tub. Ordinary objects take on odd shapes. Elle devient son modèle puis son épouse. What is dry? ), Bonnard; La Toilette Assise, 1925; Lithograph; Philadelphia Museum of Art. Bonnard’s presence is indicated by a trail of smoke drifting from his pipe towards her. From his early illustrations in the 1890s to his last luminous canvases of the 1940s, she is the subject of hundreds if not thousands of paintings and drawings. I 1893 mødte Pierre Bonnard Marthe. Bonnard preferred to work from memory, using drawings as a reference, and his paintings are often characterized by a dreamlike quality. The canvas was painted at Le Bosquet, a modest villa in the south of France where Bonnard and Marthe moved in 1927. As if they’re liquefying, the bed covers that have been pushed down to the bottom of the bed wash back into the picture like sea foam. Light drenches the picture while their small dog, Pouce, rests quietly. Wikimedia The archival sources relating to Marthe’s life and her first marriage may be new discoveries, but an awareness of bias in the testimony against her has long been available to anyone willing to see it. Although there must be several feet between the basin on the shelf and the tub on the floor, in the mirror, they stack like pie-pans. Tate Gallery Publishing Ltd; May 1998. Brava! Bonnard; Nude in the Bath (Nu dans le bain); 1936–38; Musée d’Art Moderne de la Ville de Paris. In this sketch, Bonnard looks out of the painting and back into it again through a mirror. Left: Unknown artists; Detail of Smell from The Lady and the Unicorn series, wool and silk; c. 1500; Musée de Cluny – Musée national du Moyen Âge, Paris and Right: Bonnard; Woman Pulling Up Her Stockings, 1893; oil on board; Private Collection. Tate’s curators draw on specific events in the artist’s life like the illness of his wife Marthe de Méligny, the suicide of his lover as well as the First World War, to … Hans værker er kendt for sine intense farver og komplekse kompositioner, ofte befolket med venner og familie. It is likely that she served as a model for the present work, as the foremost of the two women: Marthe’s characteristically blunt profile and dark blonde hair tucked under her cloche hat are recognizable. Marthe, whose real name was Maria Boursin, became his mistress in 1893 and was his wife from 1925 until her death in 1942. ( Log Out / Wet? The blonde woman in The Open Window may also be Renee Monchaty, with whom he fell in love around 1917 and who killed herself in 1923, after Bonnard left her to be with his spouse. It was an opportunity for Bonnard to work out various candid poses for Marthe. He was influenced by Monet, whilst not adhering to the precepts of Impressionism, and after 1912 paid regular visits to Giverny. But there is no reason to suppose that they did not share a genuinely affectionate bond and he wrote of her loss with great sorrow in the six years he outlived her. Bonnard heeft zich nooit willen meten met de rest van de wereld en is daarom moeilijk bij een stijl in te delen. Defying convention, Pierre Bonnard and Marthe de Méligny lived as a couple for thirty years before marrying in 1925. The Nabis and Decorative Painting, Metropolitan Museum of Art. Pierre Bonnard (French: [bɔnaʁ]; 3 October 1867 — 23 January 1947) was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Marthe is thought to be the model for these paintings. 17-okt-2019 - Intimate & human. Marthe Bonnard by Pierre Bonnard, 1895-1900. It is likely that the woman depicted so intimately in the present drawing is Bonnard's wife and muse Marthe de Meligny. The young woman told Bonnard that she was 16 years old and that her name was Marthe de Meligny. The New Criterion, December 2002. https://newcriterion.com/issues/2002/12/bonnards-butterflies, “Pierre Bonnard: A Love Exposed”, A documentary produced to coincide with the 1998 exhibition of Pierre Bonnard’s work at the Tate Gallery in London and the Museum of Modern Art, New York. The intimate domestic scenes, for which he is perhaps best known, often include his wife Marthe de Meligny. She is said to have lied in introducing herself, claiming to be an orphan of noble Italian heritage called Marthe de Méligny, when her real name was Maria Boursin. ... Pierre Bonnard: The Colour of Memory is on at Tate Modern until 6 May 2019. ” … Marthe suffered a great deal for a month, with almost all her organs affected; an episode of heart failure took her away before me, apparently without her being aware of it. Domestic scenes often include his wife Marthe de Meligny. She left 700 paintings and drawings behind, which were distributed between her sister and the nieces who were discovered after her death in 1942.
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