BonnardAffinities2018

Yet this suggests a kind of airlessness and inertness, while Kahn’s paint-

ings, quite the contrary, seem to imply potential flux and movement,

probably because of the variousness of her color, which can range from

fully saturated deep tones to fresco-like pastels. Combined with this mul-

tivalence of pattern, density, and color, the intimate scale of most of her

work provokes associations with Islamic miniature painting or perhaps

even tilework, but we soon are back in the light-struck world of exuber-

ant

th century modernism, with overtones of natural phenomena and

landscape—back in the world of Bonnard, that is.

Karen Wilkin

New York, January

2018

Pierre Bonnard Study for “Nature Morte” c. 1932 (cat. no. 21 )