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间工作。

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1926后，当时博纳带着玛莎——他儿，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届戛纳电影节拍照时间工作。

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。

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，当时博纳带着玛莎——他模特儿，他灵感和他——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届戛纳电影节拍照时间工作。

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

我是在戛纳我最喜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，当时博纳带着玛莎——他模特儿，他灵感和他妻——搬进了戛纳城郊一个别墅“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，当博纳带着玛莎——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.

摄师在第62届戛纳的拍照时间工作。

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届戛电影节的拍照间工作。

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，当莎——他的模特儿，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.

摄影师在第62届纳电影节的拍照时间工作。

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

我是在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，当时博纳带着玛莎——他的模特儿，他的灵感和他的爱妻——搬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间工作。

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

我是在戛纳我最喜爱的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间工作。

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.

展多都创作于1926年之后，当时博纳带着玛莎——的模特儿，的灵的爱妻——搬进了戛纳城郊一个不起眼的别墅“乐博凯斯”。