The Easel

22nd January 2019

Pierre Bonnard review: monumental, monstrous – and rubbish at dogs

Bonnard’s claim to fame is his quiet interiors, sharply framed and with surprising colour juxtapositions. Very good, yes, but enough to make him truly great? The reception to his latest show is positive but few critics seem passionate. “All that colour, all that fidgety brushwork. There is a great deal of niggling about, and piling paint on.”  More images are here.

At Tate Britain

Amidst numerous critics flinging insults at Burne-Jones’ work, one tries to be more specific. What exactly are the shortcomings of this member of the Pre-Raphaelite movement? Flawed technique is a big one; an unvarying style, “cumbersomely itself”; his figures tend to “lifelessness”. The verdict – “there are pleasures to be had. But love him? I’m trying to find a way.”