{ "data": { "id": 74898, "accession_number": "2020.101", "share_license_status": "Copyrighted", "tombstone": "Deer in the Undergrowth, c. 1908. Pierre Bonnard (French, 1867\u20131947). Oil on canvas; unframed: 76 x 105 cm (29 15/16 x 41 5/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.101. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Deer in the Undergrowth", "creation_date": "c. 1908", "creation_date_earliest": 1903, "creation_date_latest": 1913, "artists_tags": [ "male", "Nabis" ], "culture": [ "France, 20th century" ], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 76 x 105 cm (29 15/16 x 41 5/16 in.)", "dimensions": { "unframed": { "height": 0.76, "height_inch": 29, "height_inch_fraction": 0.9375, "width": 1.05, "width_inch": 41, "width_inch_fraction": 0.3125 }, "framed": { "height": 0.991, "height_inch": 39, "height_inch_fraction": 0.0, "width": 1.286, "width_inch": 50, "width_inch_fraction": 0.625, "depth": 0.086, "depth_inch": 3, "depth_inch_fraction": 0.375 } }, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [ { "inscription": "signed lower left", "inscription_translation": null, "inscription_remark": null, "sortorder": null } ], "exhibitions": { "current": [ { "id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "Impressionism to Modernism: The Keithley Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00" } ], "legacy": [ { "description": "Exhibition of Paintings by Pierre Bonnard and Edouard Vuillard. Royal Scottish Academy, Edinburgh, Scotland (August 17-September 18, 1948).", "opening_date": "1948-08-17T00:00:00" } ] }, "provenance": [ { "description": "Estate of the artist", "citations": [], "footnotes": [], "date": null, "sortorder": 1 }, { "description": "Gustave Fayet [1865-1925] Igny, France", "citations": [], "footnotes": [], "date": null, "sortorder": 2 }, { "description": "(Wildenstein & Co., London, United Kingdom)", "citations": [], "footnotes": [ "
According Jean Dauberville and Henry Dauberville, Bonnard, Catalogue Raisonne\u0301 de l\u2019\u0152uvre Peint (Paris: J. et H. Bernheim, 1966), vol. VI, p. 277, cat. no. 1937, ill. 
" ], "date": null, "sortorder": 3 }, { "description": "Lady Glenconner, London, United Kingdom", "citations": [], "footnotes": [ "
\u201cExhibition of Paintings by Pierre Bonnard and Edouard Vuillard,\u201d Royal Scottish Academy, Edinburgh, August 17\u2013September 18, 1948, cat. no. 45, noted the painting was loaned by Lady Glenconner.
" ], "date": "by 1948", "sortorder": 4 }, { "description": "(Sotheby's London, United Kingdom, December 2, 1986, lot 97, sold to Galerie Rosenbach)", "citations": [], "footnotes": null, "date": "1986", "sortorder": 5 }, { "description": "(Galerie Rosenbach, Hanover, Germany, sold to Dr. Hahnloser)", "citations": [], "footnotes": [ "
According to documentation in the curatorial file. **Is the 2020.101_WR.pdf from Paul Hanhloser? If so, that connection can be added to the final provenance.
" ], "date": null, "sortorder": 6 }, { "description": "Dr. Paul Hahnloser, Fribourg, Switzerland", "citations": [], "footnotes": null, "date": null, "sortorder": 7 }, { "description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132020", "sortorder": 8 }, { "description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 9 } ], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the words of Bonnard, \"Represent nature when it is beautiful. Everything has its moments of beauty. Beauty is the satisfaction of sight.\"", "early_education_description": null, "artlens_description": null, "description": "Bonnard\u2019s love for vibrant colors is evident in this autumnal landscape. The leaves done in strokes of scarlet, orange, and gold blend together as if the tree branches were aflame. The warmth is complemented by cool greens and blues in the forest undergrowth. The artist, who often painted from memory, included two small deer that emphasize the height of the trees.", "external_resources": { "wikidata": [ "https://www.wikidata.org/wiki/Q87480809" ], "internet_archive": [] }, "citations": [ { "citation": "James, Philip, and Clive Bell. Exhibition of Paintings by Pierre Bonnard and Edouard Vuillard. Edinburgh, Scotland: Royal Scottish Academy, 1948.", "page_number": "Mentioned: P. 12, no. 45", "url": null }, { "citation": "Dauberville, Jean, and Henry Dauberville. Bonnard, catalogue raisonne\u0301 de l'\u0153uvre peint. Paris, France: J. et H. Bernheim, 1974.", "page_number": "Reproduced: Vol. IV, P. 277, no. 1937", "url": null }, { "citation": "Chapin, Mary Weaver. \"Pierre Bonnard.\" In The Keithley Collection at the Cleveland Museum of Art, edited by Heather Lemonedes Brown, 102-127. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 110-111; Mentioned: p. 254-257", "url": "" } ], "url": "https://clevelandart.org/art/2020.101", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 74898, "creators": [ { "id": 1733, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Bonnard was a law student when he began his artistic training in 1887 at the Acad\u00e9mie Julian in Paris, where he met Paul S\u00e9rusier (1864-1927) and the theorist and painter Maurice Denis (1870-1943). Both would be influential in his artistic career and become Bonnard's lifelong friends. In 1889, the year he obtained his law degree, he saw the exhibition at Caf\u00e9 Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. S\u00e9rusier, after having returned from studying with Gauguin in Pont-Aven, decided to form his own artistic group called the Nabis (Hebrew: prophets). The founding members of the Nabis included Denis, who wrote the manifesto for the group, \"D\u00e9finition du n\u00e9o-traditionnisme\" (published in May 1890 in Art et critique), Bonnard, Paul Ranson (1864-1909), and Henri-Gabriel Ibels (1867-1936). Their first exhibition occurred in 1891, and they were later joined by Ker-Xavier Roussel (1867-1944) and Vuillard (q.v.). Based loosely on the synthetist goals established by Gauguin and \u00c9mile Bernard, the movement was created from S\u00e9rusier's vision of an artistic brotherhood dedicated to symbolism whereby a universal language could be expressed through symbols. The Nabis were opposed to the naturalism taught at academies by artists such as Bouguereau (q.v.) and wanted to move away from didactic and moral paintings toward a more decorative style characterized by simplified drawing, flat patches of color, and heavy set contours. Bonnard's works of the 1890s were influenced by the innovations of Gauguin as well as Japanese prints, which were easily accessible in nineteenth-century Paris. His paintings took on a decorative quality, mirroring his artistic expressions in other media such as stained glass, furniture, pottery, and painted screens. Bonnard's and Vuillard's domestic interior paintings of the 1890s were often described using the term intimisme. In 1891 Bonnard also experimented with other media, including poster designs and lithographs, which inspired his friend Henri de Toulouse-Lautrec (1864-1901), whom he had met through La revue blanche, a magazine that published the Nabis' work. Around 1900 the members of the Nabis began to drift apart. Between 1905 and 1910 Bonnard and Vuillard traveled to England, Belgium, Holland, Spain, and Italy, visiting many museums. Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). After 1920 Bonnard exhibited extensively and became an internationally renowned artist, receiving much recognition in the United States, where he traveled in 1926.", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1 } ], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1903, "date_added_to_oa": null, "date_text": "c. 1908", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-09-15 11:13:05.396000" } }