L’expo de l’été à ne pas manquer au Cannet. The not-to-be missed summer exhibition in Le Cannet!

Pierre Bonnard would have turned 150 this year, and the museum that bears his name in Le Cannet is celebrating this milestone with a special summer-long exhibition.


This exhibition, ‘BONNARD/VUILLARD La collection Zeïneb et Jean-Pierre Marcie-Rivière’,is centered around masterpieces on loan from the Musée d’Orsay. In total, 25 of Bonnard’s paintings and 94 of his drawings, as well as 24 paintings, 3 pastels and 2 drawings by Édouard Vuillard, taken from the collection of Zeïneb and Jean-Pierre Marcie-Rivière that was generously donated to the Parisian museum, are on display, showing the friendship and close artistic bond that existed between the two artists at the time of the Nabi Movement.

The two met at the École Nationale Supérieure des Beaux-Arts in Paris, and remained friends until the death of Vuillard in 1940, which devastated Bonnard. As Vuillard wrote in his last letter to his friend on the 4th May of that year: “If I wrote to you every time I think about you, our past, painting, etc., you would have enough letters to fill a library”.


Throughout the years, they shared their discoveries and experimentations, but also friends and exhibitions. In the 1890’s, they had both taken an interest in the same subjects, with a preference for intimate scenes representing their daily surroundings, with furniture and accessories playing the most important role. They also both adopted a very similar, evocative style, favouring small formats, mysterious compositions, and images from the avant-garde symbolist theatre and the music of Wagner.

The exhibition clearly demonstrates the affinities between the two men and the similarities in their artistic approach, by creating a link between the various artworks. But it also shows their differences. For instance, where Bonnard’s radiant nudes were usually bathed in light, Vuillard, who observed his models from a distance in the privacy of their homes, preferred instead to represent them as ghost-like figures.

The exhibit, “BONNARD/VUILLARD La collection Zeïneb et Jean-Pierre Marcie-Rivière” runs until the 17th of September at the Musée Bonnard in Le Cannet.

Musée Bonnard
16, boulevard Sadi Carnot
06110 Le Cannet

Tel: +33 4 93 94 06 06

Open from Tuesday to Sunday, 10am to 6pm



Une autre expo  voir cet été sur la Côte d’Azur…Cette fois au Cannet. Another exhibit to see this Summer on the French Riviera…This time in Le Cannet.


Pierre Bonnard’s love for animals is to be celebrated this summer with a special exhibition by his eponymous museum in Le Cannet.

While the musée Chagall in Nice is currently reflecting on the influence of music in the Russian painter’s work, the musée Bonnard in Le Cannet will be presenting an exhibition entitled ‘Entre chiens et chats – Bonnard et l’animalité’, focussing on Monsieur Bonnard’s love of animals, starting this July.

Featuring more than 50 œuvres, including works on loan from the musée d’Orsay in Paris, the Ny Carlsberg Glyptotek in Copenhagen, and the Kunsthalle of Bremen in Germany, the exhibit will revolve around the Nabi period and paintings of the artist’s long-time companion, Marthe de Méligny, alongside her pets.


Perhaps best known for his interior and urban scenes, with intense, high-keyed colours, Bonnard also produced many landscapes towards the end of his career, as well as designing furniture, developing textile patterns, making puppets for puppet shows, and illustrating books.

Born just outside of Paris in 1867 to a well-to-do family, Pierre Bonnard came of age when Impressionism was at its height, but after studying at the Académie Julian, a liberal Parisian art school, he teamed up with a group of young painters, greatly influenced by Paul Gauguin and in search of an art independent of external reality.

This group of artists, which called themselves the Nabis, or prophets, believed that colours should be used independently of objective reality, and that a painting should tend towards dreams. Bonnard created many of his scenes, not from life, but from his memory or imagination, putting a lot of emphasis on light, space and shapes. His canvasses were worked and re-worked to capture the spirit of the moment rather than the exact person or place.


There is definitely an outsider quality to his work, and one can feel the emotional connection between man and animal in all his paintings.

The exhibition ‘Entre chiens et chats – Bonnard et l’animalité’ runs from the 2nd of July to the 6th of November. Tickets cost from €5.

The museum is open daily from 10am to 8pm (9pm on Thursdays, closed Mondays) throughout July and August, and from 10am to 6pm from September onwards.


Musée Bonnard
16, boulevard Sadi Carnot
06110 Le Cannet

Tel: + 33 4 93 94 06 06

All images courtesy Musée Bonnard; Bonnard et son chien Black, 1905 – 1910, photographie Musée d’Orsay, Paris © Photo Musée d’Orsay / RMN; Pierre Bonnard, La Femme au chat vers 1912, Musée d’Orsay, Paris © Adagp, Paris 2016 © Photo Musée d’Orsay / RMN / H. Lewandowski; Pierre Bonnard, Le Basset sur la chaise, vers 1921, Collection particulière © Adagp, Paris 2016



Article sur la belle expo consacrée à Henri Manguin au musée Bonnard pour Riviera buzz. Article about the nice Henri Manguin exhibit at the Musée Bonnard for Riviera Buzz.


The Musée Bonnard is paying tribute to Henri Manguin with the beautiful exhibit “Un fauve chez Bonnard”, running until 31st October.

Considered one of the founding fathers of Fauvism, Henri Manguin is best known for his Mediterranean landscapes inspired by long stays in Saint Tropez with Paul Signac.

A contemporary of Henri Matisse, Albert Marquet, Georges Rouault and Jean Puy with whom he studied in Gustave Moreau’s studio at the Ecole des Beaux-Arts in Paris, Manguin, who was born in 1874, has always been influenced by the works of the Impressionist and post-Impressionist painters such as Renoir, Monet and Cézanne, witnessed in his constant use of bright colours.

His paintings are indeed vibrant, passionate and joyful, thanks to the presence of dazzling hues (oranges, reds, and the like) and his use of strong lines. Despite spending most of his life in the French capital or on the road – Switzerland, Belgium, Italy – Manguin was fascinated by the light, the vegetation, the landscapes and the way of life of the South of France.

Moreover, if he never adopted the pointillist style of Signac, the artist was convinced that the colours were as important as the subject matter itself, and always avoided unnecessary details, preferring simplified forms instead.


Describing himself as the painter of a happy life, Manguin depicted women, landscapes and still life with flowers to create a real world of beauty and gaiety. He really became famous in 1905 when his works, displayed at the “Salon d’Automne” in the same room as many other Fauvist artists, known as “La Cage aux Fauves”, were hailed by the critics.

He later became an associate of that salon to whom he remained loyal until the end of his career, and went on to exhibit his paintings abroad. In 1924, he also worked on the decoration of the newly built Musée de l’Annonciade inSaint Tropez.

Manguin died in 1949 in Saint Tropez, shortly before permanently moving there. Today, his paintings can be found in many museums around the world such as the Musée d’Orsay in Paris, the Hermitage museum in Saint Peterburg or the Palazzo Ruspoli in Rome.

The exhibit, “Henri Manguin, un fauve chez Bonnard” runs until the 31st of October at the Musée Bonnard in Le Cannet.