A whole room is unnecessarily devoted to nudes, standing or sprawling, single or in couples, often very badly painted. This breaks the pace. The pedestrian hanging that seems at times haphazard does not help. The transition from the small Nabi period to landscapes and interior scenes painted after World War I is somehow lost. Marthe and the Dog,'' which dates from 1918, only retains the sketchiness of Impressionism.
Perspective remains perceptible, but volume vanishes.
The figural element is so discreet as to be a mere suggestion - a woman's head and a dog appear in the lower corner right. In ''Normandy Landscape'' of 1920, color is all that the eye takes in - the turquoise, the green, the acid yellow applied with a lyrical thrust. The subject can be made out no more. Nature seen from within a house, through a window, or across some threshold increasingly obsessed Bonnard as if he sought a retreat to look at the world outside. One is never quite sure where the focus is. ''The Open Window'' of 1921 gives more space to the walls of the room than to the landscape framed by the window.