Editing Pierre Bonnard (section)

{{Short description|French painter and printmaker (1867–1947)}}
{{Use dmy dates|date=October 2019}}
{{Infobox artist
| name             = Pierre Bonnard
| image            = File:Tête de Bonnard (Portrait photograph of Pierre Bonnard), c.1899, Musée d'Orsay, restaurée.jpg
| image_size       = 200px
| caption          = Bonnard, {{Circa|1899}}
| birth_name       = 
| birth_date       = {{birth date|1867|10|3|df=y}}
| birth_place      = [[Fontenay-aux-Roses]], [[Seine (department)|Seine]], France
| death_date       = {{death date and age|1947|1|23|1867|10|3|df=y}}
| death_place      = La Route de Serra Capeou, [[Le Cannet]], [[Alpes-Maritimes]], France
| field            = Painter
| training         = 
| movement         = [[Post-Impressionism]], [[Les Nabis]], [[Intimism (art movement)|Intimism]]
| works            = 
| awards           =  
|module={{Infobox person|child=yes
| signature        = Bonnard, Pierre 1867-1947 deWP.jpg}}
}}

'''Pierre Bonnard''' ({{IPA|fr|pjɛʁ bɔnaʁ|lang}}; 3 October 1867{{spnd}}23 January 1947) was a French [[Painting|painter]], [[illustrator]] and [[Printmaking|printmaker]], known especially for the stylized decorative qualities of his paintings and his bold use of color.<ref>Encyclopædia Britannica on-line</ref> A founding member of the [[Post-Impressionism|Post-Impressionist]] group of [[avant-garde]] painters [[Les Nabis]],<ref>[http://oxfordindex.oup.com/view/10.1093/gao/9781884446054.article.T009901 Grove Art Online]</ref> his early work was strongly influenced by the work of [[Paul Gauguin]], as well as the prints of [[Hokusai]] and other Japanese artists. Bonnard was a leading figure in the transition from [[Impressionism]] to [[Modernism]]. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject.<ref>[http://www.phillipscollection.org/collection/browse-the-collection/index.aspx?id=0172 Phillips Collection]</ref><ref>Cogebal, Guy, ''Bonnard'', p. 8</ref>