Pierre Bonnard’s revolutionary and controversial use of color became a means toward unlocking his past and the truths of his own self. But what if, ultimately, there was nothing to find? For years, Pierre Bonnard juggled the love of two of his models. The women were Marthe de Méligny, who would eventually become the artist’s wife, and Renée Monchaty, who would kill herself in spurned grief. In Young Women in the Garden, Bonnard painted them both. They are in a bourgeois backyard garden, like something out of a Renoir or Manet, at a large table adorned with a basket of fruit. Monchaty is the focal point of the scene. She sits in a chair, turned toward the viewer; her head rests innocently in her hand. She appears contented, at ease. In the bottom corner of the scene, looking not at the viewer but toward Monchaty, De Méligny looks quietly bemused, her profile nearly cut out of the frame. Bonnard ultimately left Monchaty for De Méligny. Sensing that his marriage to De Méligny was imminent, and that …
On the link between insanity and creativity and how the art of turn-of-the-century mentally ill asylum patients became the basis of contemporary art, from Duchamp to Twombly to Cattelan.
The staggering $450m price reached by ‘Salvator Mundi’ prompts the question: what are you really buying when you buy an artwork?
If the contemporary art world now seems like a place of pretension and status-seeking, it’s the critic Jerry Saltz who may be its last hope.