This is the catalogue for the exhibition at the Van Gogh Museum in Amsterdam (Oct. 2011 to Jan. 2012), The Philips Collection in Washington, D.C. (Feb. to May 2012), and the Indianapolis Museum of Art (June to Sept. 2012). Bonnard and Vuillard were almost exactly the same age, so the title is confusing until you realize that the "Bonnard to Vuillard" is an alphabetical progression, not a temporal one. In between the B and the V come five other artists active around the same time: George Hendrick Breitner, Maurice Denis, Henri Evenepoel, Henri Riviere, and Felix Valloton. The period considered is about 1888-1915, and at issue is how these representative artists, all of whom were initially active in other media and none of whom ever exhibited any of his photographs (these are all men), picked up the camera and responded to the new technology. There are a few introductory general essays on the camera itself, the marketing strategies of George Eastman, the new techniques, the sociology of the "amateur," etc.--and these are interesting enough--but the real substance of the catalogue is the essays (mostly between five and ten pages) on the seven artists and the portfolio of photographs, paintings and other media that follows each. These essays are by different people but they are all in the main very well done, and when one considers that Bonnard, for example, left an archive of thousands of photographs and Vuillard close to two thousand, one appreciates the sifting, sorting, and matching that the authors had to do to locate the artistically relevant ones. (Since the vast majority are the same kinds of everyday snapshots we all still take: friends at a party, a family picnic, the kids jumping rope, etc.)Everyone seems to discover something new in this book, and for me two things stood out. The first is how this new technology changed the way these artists perceived reality. They seem only very rarely to have intentionally used the camera as a kind of sketchbook to record something of visual interest for later use; rather the opposite was more often the case: only later, in looking over the photographs already taken, might the artist decide to transform them into an idea for a painting or other work. They took photographs like everyone else, but only then realized that they had created a stock of visual resources. However, photography's really profound influence on perception was far more comprehensive: the fact that the camera is a very particular device with its own unique properties not only allows, but actually forces, the artist to perceive and consider phenomena like optical distortion, the stretching of space, contrasts of light and shadow, angles of vision, cropping of the visual field, flattening of the image, etc. Especially flattening of the image, and that was my second realization: the surprising serendipity of the flattened photographic image coming simultaneously with the revelation of the Japanese woodblock print. There is an unmistakable synergism there, and the question is whether the confluence of these two helped to create that characteristic Nabi vision or whether, because of their vision, the Nabis were already primed to welcome the older Asian technique along with the newer Western technology. There seems to be something here for everybody, so whether you are interested in photography, the Nabis and their wider circle or the closing years of the nineteenth century, I can add my highest recommendation to that of the other reviewers.