Student Artwork Guide
Copyright This work is in the public domain. Pierre Bonnard died in 1947; copyright lasts 70 years after the artist’s death, so it ended in 2017.
In context
The table by the window — Pierre Bonnard
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 80 at death.
Shaded: the lifetime of Pierre Bonnard (1867–1947) every dated painting, decade by decade
First works: up to 1900 Main working years: 1900–1925 Late works: from 1925
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: artsdot.com/en/art/similar/pierre-bonnard-the-table-by-the-window-8LT4VT-en/
Measured from the image
Main colour
Gray #526c7d
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 29.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 432 works by this artist, of which 184 were looked at at least once. This painting ranks 77 of them, with 0.5% of that attention. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Fontenay-aux-Roses, France
Pierre Bonnard, born in 1867 in the Parisian suburb of Fontenay-aux-Roses, wasn’t destined for a life steeped in artistic expression. His father, a high-ranking official in the French Ministry of War, envisioned a legal career for his son. Young Pierre dutifully pursued law studies, earning his license in 1888, but his heart lay elsewhere—in the captivating world of color and form. This duality, this tension between expectation and passion, would subtly inform his artistic journey, lending a unique intimacy to his work. He initially dabbled in caricature, honing an observational skill that would later blossom into exquisitely rendered domestic scenes. However, it was at the Académie Julian where Bonnard truly found his path, encountering kindred spirits who shared his burgeoning rejection of academic conventions and embraced the avant-garde spirit sweeping through Paris. This encounter led him to the Nabis, a group of artists—including Maurice Denis, Paul Sérusier, and Édouard Vuillard—who sought to infuse art with spirituality and symbolism, moving beyond mere representation towards an exploration of inner experience.
Bonnard’s association with the Nabis proved pivotal. The group's emphasis on flattened forms, bold color palettes, and a rejection of traditional perspective resonated deeply with his artistic sensibilities. Inspired by Japanese prints—their elegant lines and harmonious compositions—and the Symbolist movement’s exploration of subjective emotion, Bonnard began to develop his signature style. He wasn’t interested in grand narratives or historical allegories; instead, he turned inward, focusing on the quiet moments of everyday life: a woman bathing, a family gathered for dinner, a sun-drenched garden. These weren't merely depictions of scenes but distillations of feeling—evocations of memory and atmosphere. This focus on intimate domesticity earned him the label “Intimist,” a term that perfectly captures the emotional resonance of his work. His paintings aren’t about what is depicted, but how it feels to be present in those moments. He worked from memory, sketching extensively and then translating those impressions onto canvas with a remarkable sensitivity to light and color.
Bonnard’s mastery of color is arguably his most defining characteristic. He didn't simply use color; he felt it, allowing it to dictate the mood and atmosphere of his paintings. His palette was vibrant yet nuanced, often employing unexpected combinations that created a sense of shimmering luminosity. He famously would revisit completed canvases, subtly adjusting colors across multiple works to achieve perfect harmony—a testament to his obsessive dedication to chromatic balance. This wasn’t about realistic representation; it was about capturing the subjective experience of color, its ability to evoke emotion and memory. He moved away from direct observation, preferring instead to paint from recollection, allowing him to imbue his scenes with a dreamlike quality. His landscapes weren't simply depictions of places but emotional responses to them—filtered through the lens of personal experience.
As Bonnard matured, his artistic focus shifted further towards the exploration of color and light. He spent increasing amounts of time in the south of France, captivated by the Mediterranean landscape and its intense luminosity. His relationship with Marthe de Meligny, his wife and lifelong muse, remained central to his life and work. She appears frequently in his paintings, often depicted bathing or engaged in everyday activities, her presence radiating a quiet grace and intimacy. In 1912, he purchased “La Roulotte” in Vernonnet, near Giverny, establishing a close friendship with Claude Monet. This proximity to the master of Impressionism further fueled Bonnard’s exploration of light and color, though he always maintained his own distinct artistic vision. He continued painting until shortly before his death in 1947, leaving behind a body of work that continues to captivate and inspire. Bonnard's influence on subsequent generations of artists is undeniable. His emphasis on subjective experience, his masterful use of color, and his celebration of the everyday have left an indelible mark on modern art. He demonstrated that beauty could be found not in grand gestures or heroic narratives, but in the quiet moments of life—bathed in light and imbued with emotion.
Woman in Checkered Dress (1890): An early example of his Nabi-influenced style, showcasing flattened forms and bold color combinations.
The Dining Room (1913): A quintessential Intimist scene, capturing the warmth and intimacy of domestic life.
Bowl of Fruit (c. 1933): Demonstrates his mastery of still life, with vibrant colors and a sense of luminous depth.
The Almond Tree in Blossom (1947): One of his last paintings, completed just days before his death, showcasing his continued exploration of color and light.
Bonnard’s works can be found in prominent museums worldwide, including:
Musée Marmottan Monet, Paris, France
Art Institute of Chicago
Museum of Modern Art, New York City
Tate Modern, London
His legacy endures as a testament to the power of color, light, and the enduring beauty of everyday life.
artsdot.com/en/art/download/pierre-bonnard-the-table-by-the-window-8LT4VT-en/
Look closely
The table by the window — Pierre Bonnard
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
A preview of "The table by the window" by Pierre Bonnard is available on the artwork's Preview page.
"The table by the window" by Pierre Bonnard can be viewed as a slideshow on the artwork's Diaporama page.
"The table by the window" by Pierre Bonnard uses a dark color palette. The palette summarizes the work's overall color character.