Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当时博纳尔带着玛莎——他的模特，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当时博纳尔带着玛莎——他的模特，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当时博纳尔带着玛莎——他的模特，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当时博纳尔带着玛莎——他的模特，他的灵感和他的爱妻——搬进了戛纳城郊个不起眼的别墅“乐博凯斯”。

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当时博纳玛莎——他模特，他灵感和他——搬进了戛纳城郊一个不起眼别墅“乐博凯斯”。

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当时博纳尔带着玛莎——他模特，他灵感和他爱妻——搬进了戛纳城郊一个不起眼别墅“乐博凯斯”。

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当时博纳尔带着玛莎——他的模特，他的灵感和他的爱妻——搬进了戛纳城郊个不起眼的别墅“乐博凯斯”。

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出许多都于1926年之后，当时博纳尔带着玛莎——他的模特，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Much of the work on view was produced after 1926, when Bonnard and his model, muse and wife, Marthe, moved into “Le Bosquet”, an unimposing villa above Cannes.

展出中许多都创作于1926年之后，当时博纳尔带着玛莎——他的模特，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。