Working en plein air and in the studio from sketches, Bonneau creates work that is fresh and directly painted. The simple and concrete shapes of barns, boats and dramatic landscapes allow for strong contrasts of light and shadow, which seems to justify the intensification of color. He is looking for what is universal and trying to heighten the visual experience for the viewer. He wants their participation in the scene.
He states, “My goal is to capitalize on the joy in even a seemingly ordinary object or scene. Painting, to me, is as much about seeing the truth of a subject as it is about technique. It is the interpretation and personalization of that truth that I hope will, in turn, be transmitted to the viewer and reward them for their time and interest.”
Often referred to as “colorist”, he starts with a canvas toned in yellow ochre onto which he applies a thin under painting of cadmium red, in order to establish the values and large shapes before moving on to the application of local color. He uses the complements to give the finished work a vibration and a warm glow.
Bonneau’s work has been awarded a first place in impressionism/ landscape by the American Art Awards and included in juried invitational shows at the New Bedford Art Museum, the Danforth Museum, the Ogunquit Art Association and the Rotenberg Gallery “Selected Boston Artists” show, the Thos Moser Gallery, the Maine College of Art, the Cape Elizabeth Land Trust, PBS Television, the Children’s Museum and the Animal Welfare Society.
He has also has been featured in the “Canvas” section of Maine Magazine. They have included him as one of Maine’s artists to watch. Along with solo and juried invitational shows, Paul contributes to many benefit auctions.
Paul received his training through independent study at the Museum of Fine Arts, in Boston, the New England School of Art and Design and the University of Massachusetts.
Taken from the “Canvas” section of the Maine Home & Design November 2012 issue
“Bonneau paints landscapes and constructed environments, including houses, harbors, and highways. These subjects allow him to incorporate history and man-made structures in a natural context without having to include actual people. Working plein air and in the studio from sketches and photographs, his paintings have the appearance of being quickly painted. This is due in part to his working method.
Bonneau starts with a canvas toned in yellow ochre onto which he applies a thin underpainting in cadmium red, in order to establish the values and large shapes. This process also gives his finished paintings a warm glow. The colors with which he describes a scene are not necessarily those seen. Instead of relying only on local color, Bonneau attempts “to heighten the experience of the viewer.” His goal is “to capitalize on the joy experienced even in a seemingly ordinary object or scene.”
It is Bonneau’s penchant for compelling color and light relationships which draws him to paint architecture. The simple and concrete shapes of houses and barns are often defined through strong contrasts of light and shadow, which seems to justify the artist’s intensification of color.
For more information, call (207) 838-9320 paul@paulvbonneau.