DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.27696#0739
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0.5
1 cm
Colour & Grey Control Chart
Blue_Cyan_Green_Yellow_Red_Magenta _ zm
view of the suburh in tlie evening with smoking
chimneys and a rising moon, quite Dutcli in atmo-
spherc. This is lacking in the “Corn Field near
Arles”, painted two years later. ITere the northern
melancholy is gone, the sun of the south hasdriven
away the clouds. From his last pcriod is a land-
scape witli a small, low, peasant house (111. 2)
witlr high trees in thc background, the tree-tops
trembling and a secret unrest in the vibrating
outline of the walls. The paint was scarcely dry on
this picture, when the artist’s friends were called
to his death-bed.
At the funeral Mr. Bonger met for the first time
Emile Bernard. This meeting developed into a
friendship which has continued to the presenttime.
In the Bonger collection there are several works
by Bernard, who is also an engraver, a sculptor, an
art weaver and an important art critic. His portrait
of himself (111. 3) is from his Spanish period, as
of liimself (111.3) is from hisSpanish period, as are
several landscapes, whicli show Cezanne influence.
Artistically important is a large colourful tapestry
with realistic figures. Another work by Bernard of
very different nature is a carved wooden frame for
a mirror, in soft colours. It was through Bernard
that Mr. Bonger became intercsted iu Cezanne.
All the Cezanne pictures in this collection are
froin the master’s middle period, wlien he lived
in Antwerp; a breakfast, a vase with flowers and
a landscape. The still-life is especially character-
istic. Here he rises above chance reality in his
fruits and flowers and lends to their pure forms
a delicate shaded colour value (111. 8), and in so
doing often approaches a decorative constructive
ideal. This is also true of the landscape (111. 4).
From another artist Mr. Bonger has a large num-
ber of pictures and from his various periods, that
is, Odilon Redon. Where Cezanne and Bemard ap-
peal to the senses, Redon is spiritual, he lives in
another world, the world of dreams, the world
of darkness, which can only be expressed in black
and white. ITerein he is closely related to the Ger-
man romanticists. His best work is to be found in
his lithographs and his drawings. All of his black
and white works show a liidden tragedy in contrast
to his coloured pictures which emanate a naive
happiness. Redon is also connected with Rodolphe
Bresdin, another romanticist, who was not without
influence on his art. Mr. Bonger has a small
drawing by Bresdin, which might be an illustra-
tion for one of Andersen’s Fairy tales. Mr. Bong-
er’s activity as a collector has not been confinecl
entirely to pictures, lie has acquired a very fine
and extensive library.
rübner Stilleben. Größe 60 : 75 cm
rsteigerung der Sammlung Max Böhm-Berlin am 28. Januar 1951
bei Rud. Lepke ln Berlin
Blue_Cyan_Green_Yellow_Red_Magenta _ zm
view of the suburh in tlie evening with smoking
chimneys and a rising moon, quite Dutcli in atmo-
spherc. This is lacking in the “Corn Field near
Arles”, painted two years later. ITere the northern
melancholy is gone, the sun of the south hasdriven
away the clouds. From his last pcriod is a land-
scape witli a small, low, peasant house (111. 2)
witlr high trees in thc background, the tree-tops
trembling and a secret unrest in the vibrating
outline of the walls. The paint was scarcely dry on
this picture, when the artist’s friends were called
to his death-bed.
At the funeral Mr. Bonger met for the first time
Emile Bernard. This meeting developed into a
friendship which has continued to the presenttime.
In the Bonger collection there are several works
by Bernard, who is also an engraver, a sculptor, an
art weaver and an important art critic. His portrait
of himself (111. 3) is from his Spanish period, as
of liimself (111.3) is from hisSpanish period, as are
several landscapes, whicli show Cezanne influence.
Artistically important is a large colourful tapestry
with realistic figures. Another work by Bernard of
very different nature is a carved wooden frame for
a mirror, in soft colours. It was through Bernard
that Mr. Bonger became intercsted iu Cezanne.
All the Cezanne pictures in this collection are
froin the master’s middle period, wlien he lived
in Antwerp; a breakfast, a vase with flowers and
a landscape. The still-life is especially character-
istic. Here he rises above chance reality in his
fruits and flowers and lends to their pure forms
a delicate shaded colour value (111. 8), and in so
doing often approaches a decorative constructive
ideal. This is also true of the landscape (111. 4).
From another artist Mr. Bonger has a large num-
ber of pictures and from his various periods, that
is, Odilon Redon. Where Cezanne and Bemard ap-
peal to the senses, Redon is spiritual, he lives in
another world, the world of dreams, the world
of darkness, which can only be expressed in black
and white. ITerein he is closely related to the Ger-
man romanticists. His best work is to be found in
his lithographs and his drawings. All of his black
and white works show a liidden tragedy in contrast
to his coloured pictures which emanate a naive
happiness. Redon is also connected with Rodolphe
Bresdin, another romanticist, who was not without
influence on his art. Mr. Bonger has a small
drawing by Bresdin, which might be an illustra-
tion for one of Andersen’s Fairy tales. Mr. Bong-
er’s activity as a collector has not been confinecl
entirely to pictures, lie has acquired a very fine
and extensive library.
rübner Stilleben. Größe 60 : 75 cm
rsteigerung der Sammlung Max Böhm-Berlin am 28. Januar 1951
bei Rud. Lepke ln Berlin