Pierre Bonnard: Affinities, 2018

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 20 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 )