This thesis is the first examination of what I am terming the feminine painting practices of Pierre Bonnard (1867-1947). I analyse literature which depicts Bonnard as a modernist painter of questionable critical reputation. I argue that Bonnard has been labelled a failure by the art historical canon because the canon has been dismissive of femininity in modern painting. I concentrate on Bonnard's late interiors, reading for the feminine in his treatment of domestic space and the female figure. In the first chapter I explore the concept of feminine space in modem art. I argue that Bonnard's depiction of the interior is recognisable to both men and, crucially, women and is therefore different from the interiors of peers such as Renoir or Degas. In chapter two I examine the frequent description of Bonnard's interiors as being claustrophobic. I argue that this is a masculinist reaction to the domestic space depicted. In chapter three I explain the ways in which Bonnard's treatment of Marthe Boursin bathing may be said to rupture the genre of the bather in modem art. In chapter four I analyse the psychic structures which underpin Bonnard's looking both in relation to his periperhal vision and his recreation of Boursin's own active and independent look. In the conclusion I deal with the themes of memory and repetition in Bonnard's art. Throughout the thesis I use a feminist methodology.