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Pierre Bonnard practices still life less for itself than he finds it a pretext for a search for “impressionist emotion”.
The apparent disorder of this bouquet of field flowers actually hides a clever organized harmony, where the vase occupies the center of a perfectly balanced composition.

This classical composition makes room for expression, which seems essential to Bonnard: that of revealing the instantaneity of the moment through light.

The slightest light vibration is restored by a beam of crosses or, as here on the tablecloth, by flat areas of ink applied with a quick gesture.

This drawing is preparatory to oil on canvas Marguerite and Poppy in a White Pot, 1918, listed in the Artist's Catalogue Raisoné (vol. II, no. 953, p. 443).

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Pierre Bonnard only paints still life as a pretext to find an 'impressionist emotion'.

This bouquet of wildflowers appears disorderly, but is in fact a well thought, organised harmony, where the vase is the centre of a perfectly balanced composition.
Even with a classical layout, he manages to express what is essential to him; the light of the moment. A bundle of little crosses represents each vibration of light, or in some spots, like on the table cloth, with patches of ink, swiftly applied.
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Preparatory drawing for an oil on canvas Marguerite et coquelicot au pot blanc, 1918, published in the artist's Catalogue Raisoné (vol. II, # 953, p. 443).

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