‍

In 1890, Pierre Bonnard returned fascinated by his visit to the exhibition of Japanese prints at the École des Beaux-Arts in Paris and was therefore fascinated by the style of the masters of Ukiyo-e.

‍
Here, the use of the kakemono format, the layout, the play of arabesques between stylized branches, the undulating lines of the characters and the technique of ink treated with a brush clearly justify the nickname “nabi japonard” given to Bonnard.

‍

This drawing is probably an illustration of one of the musical evening programs organized by his brother-in-law Claude Terrasse in the house he rented in Arcachon, the Villa Bach.

‍

‍
In 1890, Pierre Bonnard was fascinated by the exhibition of Japanese prints at the École des Beaux-Arts in Paris. Consistently, I find inspiration in the style of the Ukiyo-e Masters.

‍

The layout, the kakemono format, the stylization of the branches forming arabesques and wavy outlines with the silhouettes, as well as the technique of ink and brush reveal a Japanese influence on Bonnard's work, who is nicknamed the very 'Nabi Japonard'.

‍

This drawing is probably one of the illustrations which Claude Terrasse, his brother in law, uses for the programmes of his musical evenings taking place at the Villa Bach that he rents in Arcachon.

‍