An unparalleled reassessment of Pierre Bonnard, exploring his paintings, drawings, photography, and prints

As one of the founders of the post-Impressionist group the Nabis,

French artist Pierre Bonnard (1867–1947) is frequently seen as a transitional

figure between the Impressionists and modernists. This beautifully illustrated book offers a fresh interpretation, revealing the artist's central concern with expanding representation beyond the limits of natural vision. The result is a new understanding not only of Bonnard but of modernism itself.

Exploring how Bonnard's dazzling domestic scenes and landscapes reimagine perception, embodiment, and the passage of time, Lucy Whelan characterizes him as a painter of unusual insight in his consideration of the relationship between vision and representation. The book covers Bonnard's paintings, drawings, photographs, and prints, with special focus on his later works from the 1920s to his death in 1947, and draws on an in-depth study of the artist's diaries, interviews, and other written sources. A groundbreaking reassessment, Pierre Bonnard Beyond Vision presents an artist engaged in avant-garde forms of experimentation who complicated vision in innovative ways.

本书重新对皮埃尔·波纳尔（Pierre Bonnard）进行了一次少有的评估，探讨了他的绘画、素描、摄影和版画。

作为后印象派艺术团体纳比派的创始人之一，法国艺术家皮埃尔·波纳尔（1867-1947）经常被视为印象派和现代派之间的一个过渡人物。本书对此提供了一种新的解释，揭示了艺术家对超越自然视觉限制的扩展表现的核心关注。不仅对波纳尔而且对现代主义本身有了新的理解。

露西·惠兰（Lucy Whelan）探讨了波纳尔令人眼花缭乱的家庭场景和风景是如何重新想象感知、体现和时间的流逝的，她把他描述为一个在考虑视觉和表现之间的关系方面具有不同寻常的洞察力的画家。本书涵盖了波纳尔的绘画、素描、照片和版画，特别关注他从20世纪20年代到1947年去世的后期作品，并借鉴了对艺术家的日记、访谈和其他书面资料的深入研究。作为一项突破性的重新评估，本书展示了一位从事前卫实验形式的艺术家，他以创新的方式将视觉复杂化。