Paul Bonneau


Big House, Back House, Barn

Big House, Back House, Barn

Sea Wind

Sea Wind

Orange Out

Orange Out (sold)

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.

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