A pintura:
O texto:
"Pierre Bonnard | Praça Clichy 1947 | oil on canvas 138.0 (h) x 203.0 (w) cm
Musée des Beaux-Arts et d'Archéologie, Besançon, Gift of George and Adèle Besson 1963. Deposited by the Musée national d'art moderne
Place Clichy, on the western slope of Montmartre, is the centre of a number of radiating avenues, a busy place full of people shopping, talking and drinking coffee. The automobile and commercial businesses visible in the background demonstrate the prosperity of the times.
The view is from the terrace of the Brasserie Wepler. Its awning is visible along the top of the picture, with the words soupers (suppers) and brasseri[e] facing out to the street — and therefore seen by us in reverse. The horizontality of the awning is echoed in the frieze-like array of people across the bottom half of the canvas. A waiter stands at the extreme left, another at the right. Two women on the left walk by, while the two to the right, accompanied by a small child, appear to be about to seat themselves at a table. A man walks with a dog, and two girls cross the street arm in arm, one of them carrying a basket of laundry. Passengers look out of the passing car. Figures on the far right with a parasol shield themselves from the bright sunlight bathing the scene.
A sense of depth is conveyed by the diminishing size of the people from foreground into middle distance; by the nearer buildings overlapping more distant ones as in a stage set; and by the softening and blurring of the most distant details.
© National Gallery of Australia"
O meu comentário:
Eu acrescentaria que a composição é baseada (e estabilizada) nas inúmeras verticais existentes - as pessoas, os azuis e vermelhos dos anúncios, das janelas, das arestas dos edifícios. Não concordo com a "horizontalidade" das pessoas citada no texto (se traduzi bem). A única horizontal forte, para além do friso do toldo (?) é a do automóvel, a qual, aliada à côr "divergente" (amarelo) das dominantes da composição cria uma dinâmica que sustenta o caminhar do olhar da esquerda para a direita. Olhar que é travado na fuga para fora do quadro pelos vermelhos.
Os dois criados, pelo posicionamento e pela côr, juntamente com a, referida no texto, grafia invertida do toldo, criam uma espécie de limite cenográfico que traça a fronteira entre o espaço do observador (o pintor) e a realidade recriada.
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