Boehner, "Capricious" Form Of Painting Language

Pierre Bonnard(Pierre Bonnard) is active in the late 19 th century and early 20 th century French Nabi painting master, he is often referred to as "wizard" colours. Early is affected by the impressionists, and the influence of Japanese yamato-e, and around his daily life as the subjects, constantly learning, practice and research, finally formed the agglomeration magic decorative painting style, and the uniqueness of this kind of style is mainly reflected in the additional "capricious" in the form of a language. Of course "capricious" here refers to the additional unique view on art, bold use of color, delicate composition form, clever and bouncing brush strokes, as well as the subjective image modelling and so on, these "capricious" form of painting language for we created a calm, sweet, happiness, but it seems to be not true, magical, and with a strong mystery, also brings the viewer a very memorable visual feast and spirit to enjoy.On the research methods of this article is through to the western art history study, some books about bonnard, network reading journals. With the additional works unique art language, namely his peculiar "capricious" the art of painting language form as the top priority of the article, through the representative paintings of bonnard analysis and anatomy, to meet Mr Boehner, this article first from his personal growth experience, and his western art history background of the continuing innovation, to realize the painting language bonnard and "capricious" the uniqueness of formation of the premise, the second is based on formal language in the works of its intuitive analysis and study, namely in space form, composition form, and colour language to learn more about its "capricious". Again is through the understanding of support for its forward art theory, Virginia, and his works and contemporary painter’s art to deepening understanding and understand the difference between a bonnard "capricious" form of painting language. Finally, talking about his art experience and theory to my future had a big role in road, let me know again and look at yourself, adhere to the "Respect for tradition without beam in old rhyme, ask way outside and not just to follow" learning attitude, seriously and try to go on the way of painting.