http://www.kunsthaus.ch/en/the-collection/conservation/examples-from-the-world-of-art-conservation/structure-of-the-painting-pierre-bonnard/?redirect_url=title%3DM%3F%3F%20ac%153%3F%C2%A9thod

Kunsthaus Zürich

Pierre Bonnard

Structure of the painting

Detail of «Woman from the Rear»: Bonnard used a range of different painting and drawing materials in the «Panneaux décoratifs»: visible here are charcoal, pencil (contour line of the back), white chalk and paint, glazed and opaque.
Detail of «Woman from the Rear»: Bonnard used a range of different painting and drawing materials in the «Panneaux décoratifs»: visible here are charcoal, pencil (contour line of the back), white chalk and paint, glazed and opaque.

Bonnard left the work uncompleted. The female figures were freely sketched on paper using charcoal. There are visible corrections as well as suggestions of light and shade. He then applied paint to these studies to differing degrees – covering almost the entire surface in the case of the «Woman in a Checked Dress», only partially and using a small number of colour tones in the «Seated Woman».

Vigorously applied pencil lines following the outlines of the figures were created when the contours were transferred to the second version, which is now in the Musée d’Orsay. A direct comparison revealed that the outlines of two figures are identical to those in the second version.

Raking light image of: «Woman in a Polka-Dot Dress»: The paint is very coarse-grained in some areas. Individual grains of pigment can be seen under the microscope, suggesting that Bonnard mixed his paints himself on the palette, using a mixture of pigment and binding agent.
Raking light image of: «Woman in a Polka-Dot Dress»: The paint is very coarse-grained in some areas. Individual grains of pigment can be seen under the microscope, suggesting that Bonnard mixed his paints himself on the palette, using a mixture of pigment and binding agent.