Paul Bonneau

Show now through December 2nd 2017

Artist Paul Bonneau Lit-Up-Laudholm-Farm

Lit Up Laudholm Farm

Artist Paul Bonneau Three Dories Acrylic Painting

Three Dories

Artist Paul Bonneau Resting Bones Acrylic Painting

Resting Bones

Artist Paul Bonneau The Rising Acrylic Painting

The Rising

Artist Paul Bonneau Camden Yard Acrylic Painting

Camden Yard

Artist Paul Bonneau Lands End Acrylic Painting

Lands End

Artist Paul Bonneau Marina Machine Shop

Marina Machine Shop

Artist Paul Bonneau Motif Number 1

Motif Number One

Artist Paul Bonneau Market Day Acrylic Painting

Market Day


Hauled Out


Low Tide, Cape Porpoise


The Causeway, Cape Porpoise


Cape Porpoise Fleet

Artist Paul Bonneau Hydrangea-18x24


Attist Paul Bonneau SeaFarm 20x24

Sea Farm

Artist Paul Bonneau Hough McCoullough House Summer St Painting

Hough McCoullough, House Summer St

In 2011, The American Art Awards voted Paul’s painting “Last Standing” as the first place winner in the Impressionist Landscape category. He has also has been featured in the “Canvas” section of Maine Home and Design magazine (November, 2012). Earlier the magazine included him as one of the Maine artists to watch.

Often referred to as a “colorist”, Paul’s work has been included in invitational shows in the New Bedford Art Museum, the Danforth Museum, the Ogunquit Art Association, the Thos Moser Gallery, the Irvine Gallery, the Judi Rotenberg Gallery (Boston), the Maine College of Art and the Cape Elizabeth Land Trust juried invitational auctions, PBS Television, the Children’s Museum, the Animal Welfare Society, as well as in the collection of the Maine Turnpike Authority.

Paul completed independent study at the Museum of Fine Arts, Boston, the Heartwood School of Art and the University of Massachusetts. He is a member of the American Impressionist Society and represented locally by the Mast Cove Galleries, in Kennebunkport.

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.