Photographers work a photocall at the 62nd Cannes Film Festival.

摄影师在第62届戛电影节的拍照工作。

I found the chairs at my pet antiques dealer in Cannes.

我是在戛我最喜爱的古董商那里发现这些椅子的。

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，当尔带着玛莎——他的模儿，他的灵感和他的爱妻——搬进了戛城郊一个不起眼的别墅“乐凯斯”。

Photographers work a photocall at the 62nd Cannes Film Festival.

摄影师第62届戛纳电影照时工作。

I found the chairs at my pet antiques dealer in Cannes.

戛纳最喜爱古董商那里发现这些椅子。

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——他模特儿，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”。

Photographers work a photocall at the 62nd Cannes Film Festival.

摄影师在第62届戛纳电影节的拍照时工作。

I found the chairs at my pet antiques dealer in Cannes.

我是在戛纳我最喜爱的古董商那里发椅子的。

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——他的模特儿，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”。

Photographers work a photocall at the 62nd Cannes Film Festival.

摄影师在第62届戛纳电影节的拍照时工作。

I found the chairs at my pet antiques dealer in Cannes.

我是在戛纳我最喜爱的古董商那里发现这些椅子的。

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——他的模特儿，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”。

Photographers work a photocall at the 62nd Cannes Film Festival.

摄师第62届纳电拍照时工作。

I found the chairs at my pet antiques dealer in Cannes.

我纳我最喜爱古董商那里发现这些椅子。

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——他模特儿，他灵感和他爱妻——搬进了纳城郊一个不起眼别墅“乐博凯斯”。

Photographers work a photocall at the 62nd Cannes Film Festival.

摄影师在第62届戛纳电影节的拍照时工作。

I found the chairs at my pet antiques dealer in Cannes.

我是在戛纳我最喜爱的古董商那里发现这些椅子的。

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，当时纳尔带着玛莎——他的模特儿，他的灵感和他的爱妻——搬进了戛纳城郊一个不起眼的别“凯斯”。

Photographers work a photocall at the 62nd Cannes Film Festival.

摄影师在第62届戛纳电影节的拍照时工作。

I found the chairs at my pet antiques dealer in Cannes.

我是在戛纳我最喜爱的古董商那发现这些椅子的。

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——的模特儿，的灵感和的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。

Photographers work a photocall at the 62nd Cannes Film Festival.

摄影师在第62届戛纳电影节拍照时工作。

I found the chairs at my pet antiques dealer in Cannes.

我是在戛纳我最喜古董商那里发现这些椅子。

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——模特儿，灵感和妻——搬进了戛纳城郊一个不起眼别墅“乐博凯”。

Photographers work a photocall at the 62nd Cannes Film Festival.

摄影师在第62届戛纳电影节拍照时工作。

I found the chairs at my pet antiques dealer in Cannes.

我是在戛纳我最喜爱古董商那里发现这些椅子。

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——模特儿，灵感爱妻——搬进了戛纳城郊一个不起眼别墅“乐博凯”。