1924 Print Pierre Bonnard Mini Poster Art La Revue Blanche French Journal Paris
This is an original 1924 color print of a poster, designed by Pierre Bonnard in 1894, advertising La Revue Blanche, a literary and artistic journal published in Paris (from Les Maîtres de l'Affiche, Chaix, Paris, 1896).
Period Paper is pleased to offer a rare and exceptional "mini poster" collection of some of the finest examples of poster advertising art of the late 19th and early 20th century. The collection includes color prints, black and white halftone prints, and several lithographs. Although as "mini posters" they are but a fraction of the size of the original, their powerful graphic designs combined with a succinct advertising message make them highly collectible pieces for the popular culture historian, the poster art collector, or those interested in the history of poster design. Please note: these items are from 1924 and are not modern reproductions, copies, or digital prints.
CONDITION
This 87+ year old Item is rated Near Mint / Very Fine. No creases. No natural defects. No surface rub. No tears. No water damage.
- Product Type: Original Mini Poster; Color
- Grade: Near Mint / Very Fine
- Dimensions: Approximately 6 x 7.5 inches; 15 x 19 cm
- Authentication: Serial-Numbered Certificate of Authenticity w/ Full Provenance
- Protection: Packaged in a custom archival sleeve with an acid-free black board (great for display, gift-giving, and preservation)
This piece was illustrated by Bonnard, Pierre. There is no visible artist signature.
Bonnard was born on 3 October 1867 at Frontenay-aux-Roses, Seine. Bonnard studied law, but gave up his career as a registrar for painting. At the Academie Julian, he made the acquaitance of Vuillard, Roussel and Serusier, and became a member of the "Nabis" group (a group of Post-Impressionist avant-garde artists setting the pace of both fine arts and graphic arts in France during the 1890s).
His work is varied, and includes portraiture, landscape, decoration, painting, lithography and book-illustration. His palette was initially light in tone, evoking Japanese Art (1890), becoming darker, warmer, and more glowing (Parisian life and domestic scenes, 1895-1905), before again returning to a subtle tone. During this time, Bonnard was frequently outside Paris during the warmer months, spending time at Montval near Marly-le-Roi, then Vernouillet, Triel, and Vernon. The warmth and sunlight of these areas began to influence his palette, and beginning around 1910, his work became full of the strong sunlight of the South of France. Around 1915, Bonnard's work became more compact and constructive in use of form, while his color palette became even more vibrant and intense.
Bonnard did not paint from life, instead photographing his subjects and making notes about color and light. Upon return to his studio, Bonnard would refer to these photographs and notes when completing his work. In 1938, the Art Institute of Chicago held a major exhibition of Bonnard's work (as well as the work of Vuillard).
Bonnard completed his final painting "The Almond Tree in Blossom" a week before his death on 23 January 1947.
Following his death, a posthumous retrospective of Bonnard's work was exhibited by the Museum of Modern Art in New York City (1948). The exhibition was originally intended to be a celebration of Bonnard's eightieth birthday.Two major exhibitions of Bonnard's work were displayed in 1998 at the Tate Gallery in London and the Museum of Modern Art in New York City.
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