Tate Modern’s  exhibition concentrates on the artist’s work from 1912  until 1947. Love London Love Culture rounds up the reviews. 

Nude in the Bath 1925 Pierre Bonnard 1867-1947. (c) Tate.

The Times: **** “Bonnard’s colour juxtapositions are barking mad, but so harmonious that you barely notice.”

The Guardian: *** “Awash with colour and full of fidgety brushwork, Bonnard’s paintings range from the terrific to the scrappy. Why do people love him so much?”

Evening Standard: ***** “These are paintings based on observation yet conjured from memory. They hit you with colour but reveal themselves slowly; drawing you in, unfolding in time, captivating and dazzling.”

The Telegraph: **** “Tate could hardly have happened on a better moment – the middle of the winter’s coldest snap so far – to open an exhibition that throws windows and doors open on to sun-drenched gardens, lingering over languorous lunches that no one seems in any hurry to clear away – the work of an artist for whom even taking a bath becomes a sultry, meditative activity.”

Time Out: ***** “These are paintings to get lost in, and this show is full of moments that you just won’t want to end.”

Culture Whisper: **** “Offering a much-needed burst of colour, Pierre Bonnard: The Colour of Memory leaves you feeling light-of-step and inspired at a time when you need it most.”

iNews: “His paintings bathe you in light. His colours are so intense, rich, vivid, that you feel fed by them: not just the translucent depth he gives a platter of golden-green grapes, or ruby plums, but the whole, wild, heated composition.”

The Upcoming: *** “There is something missing from this exhibition, although it’s hard to pinpoint it. There is a lot of beauty, a lot of colour – but not much else.”

City Matters: ” You can’t help but be drawn into Bonnard’s memory and feel as if you are living it with him.”

London Visitors: “This fascinating exhibition offers the opportunity to study the works of Pierre Bonnard, although often overshadowed by other French painters of the period, Bonnard deserves to be recognised for this own unique style.”

The Spectator: “as an experience the exhibition isn’t an overwhelming one. But perhaps artists, and everyone, should be judged on their successes rather than their failures. Sometimes he pulled it off — marvellously — transforming a moment of everyday life into billowing clouds of colour.”

Pierre Bonnard: The Colour of Memory will be on display at  Tate Modern until the 6th May.  

Advertisements