The masterful modernist manipulated light, form and focus to create color-strewn scenes of everyday life. hough the public loved his happily colored landscapes, his well-lit scenes of domestic life, his erotic and classically posed nudes, and his penetrating self-portraits, when he died in 1947 at age 79, the French painter Pierre Bonnard was viewed by many critics as a primitive generator of color who belonged far more to the 19th century than to the 20th. Over the past five decades that view has changed dramatically. "So much so," writes Stanley Meisler, "that Bonnard is now widely regarded as one of our century's most complex and masterful painters." An extraordinary Bonnard retrospective, which opened at the Tate Gallery in London in February, will be on view at the Museum of Modern Art in New York from June 17 to October 13. "Bonnard was not interested in competing with contemporary painters," says the show's curator, British art historian Sarah Whitfield. "He was interested in competing with the history of art." And he did so, writes Meisler, "with a host of modern, radical approaches..."