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.

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“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.

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“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，当时博带着玛莎——他的模特，他的灵感和他的爱妻——搬进了戛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，当时博着玛莎——他的模特，他的灵感和他的——进了戛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——，灵感和爱妻——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，当时博尔带着玛莎——他的模特，他的灵感和他的爱妻——搬进了戛一个不起眼的别墅“乐博凯斯”。