id: 83456 accession number: 2020.102 share license status: Copyrighted url: https://clevelandart.org/art/2020.102 updated: 2024-03-26 01:55:52.502000 Woman Putting on Her Stockings, 1893. Pierre Bonnard (French, 1867–1947). Oil on board; unframed: 35.2 x 27 cm (13 7/8 x 10 5/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift 2020.102 © Artists Rights Society (ARS), New York title: Woman Putting on Her Stockings title in original language: series: series in original language: creation date: 1893 creation date earliest: 1893 creation date latest: 1893 current location: creditline: Nancy F. and Joseph P. Keithley Collection Gift copyright: © Artists Rights Society (ARS), New York --- culture: France, 19th century technique: oil on board department: Modern European Painting and Sculpture collection: Mod Euro - Painting 1800-1960 type: Painting find spot: catalogue raisonne: --- CREATORS * Pierre Bonnard (French, 1867–1947) - artist Pierre Bonnard was a law student when he began his artistic training in 1887 at the Académie Julian in Paris, where he met Paul Sérusier (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 Café Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. Sérusier, 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, "Définition du néo-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 Émile Bernard, the movement was created from Sérusier'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. --- measurements: Unframed: 35.2 x 27 cm (13 7/8 x 10 5/8 in.) state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Impressionism to Modernism: The Keithley Collection opening date: 2022-09-11T04:00:00 Impressionism to Modernism: The Keithley Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023). --- LEGACY EXHIBITIONS * {'description': 'Galerie Salis, Salzburg, Austria; JPL Fine Arts, London, United Kingdom (1991).', 'opening_date': '1991-01-01T00:00:00'} * {'description': "1893: L'Europe des peintres. Musee d'Orsay, Paris, France (February 22-May 23, 1993).", 'opening_date': '1993-02-22T00:00:00'} * {'description': 'Fine Art Society, London, United Kingdom (1997).', 'opening_date': '1997-01-01T00:00:00'} * {'description': 'Bonnard. Tate Gallery, London, United Kingdom (February 12-May 17, 1998); Museum of Modern Art, New York, NY (June 17-October 13, 1998).', 'opening_date': '1998-02-12T00:00:00'} * {'description': 'Bonnard: Early and Late. The Phillips Collection, Washington DC (September 21, 2002-January 19, 2003); Denver Museum of Art, Denver, CO (March 1-May 25, 2003).', 'opening_date': '2003-03-01T00:00:00'} --- PROVENANCE (Collection Galerie Paul Petrides, Paris, France) date: by 1966 footnotes: *
According to Jean Dauberville and Henry Dauberville, Bonnard, Catalogue Raisonné de l’Œuvre Peint (Paris, 1966), vol. I, p. 116., cat. no. 44.
 
citations: Private Collection, New York, NY date: after 1966–before 1991 footnotes: citations: (JPL Fine Arts, London, United Kingdom) date: after 1966–before 1991 footnotes: citations: Private Collection, Great Britain date: by 1991–possibly 1996 footnotes: *
According to Bonnard (Salzburg: Galerie Salis; London: JPL Fine Arts, 1991), cat. no. 2, ill.
 
citations: Possibly Neffe-Degrande, London, United Kingdom date: by 1996–before 2008 footnotes: *
Included on the cover of the exhibition catalogue “Bonnard – Roussel – Vuillard: Drawings, Watercolours, Pastels and Paintings,” Neffe-Degandt, London, November 20, 1996 – January 31, 1997
citations: Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art date: 2008–2020 footnotes: citations: The Cleveland Museum of Art, Cleveland, OH date: 2020– footnotes: citations: --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS Dauberville, Jean, and Henry Dauberville. Bonnard, catalogue raisonné de l'œuvre peint. Paris, France: J. et H. Bernheim, 1966. page number: Mentioned and Reproduced: Vol. I, P. 116, no. 44 url: Bonnard: Galerie Salis, Salzburg, 27. Juli bis 15. September 1991 : JPL Fine Arts, London, Oktober, 3rd to December, 6th 1991. Salzburg: Galerie Salis, 1991. page number: Mentioned and reproduced: no. 2 url: Musée d'Orsay, and Réunion des musées nationaux (France). 1893: l'Europe des peintres : Paris, Musée d'Orsay, 22 février-23 mai 1993. Paris, France: Le Musée, 1993. page number: Mentioned and Reproduced: P. 154-155, no. 42 url: Bonnard, Roussel, Vuillard: Drawings, Watercolors, Pastels and Paintings : 20 November 1996-31 January 1997. London: Neffe-Degandt, 1996. page number: Reproduced: Cover url: Fine Art Society. Spring'97: 6th May-6th June. London: Fine Art Society, 1997. page number: Reproduced: P. 34, no. 39 url: Elderfield, John, and Sarah Whitfield. Bonnard. London, United Kingdom: Tate Gallery Pub, 1998. page number: Mentioned and reproduced: p. 64-65, no. 6 url: Turner, Elizabeth Hutton, and Nancy Wolsk. Pierre Bonnard: Early and Late. Washington, DC: Philip Wilson Publishers in collaboration with the Phillips Collection, 2002. page number: Reproduced: p. 95, no. 21 url: Pagé, Suzanne. Pierre Bonnard: The Work of Art, Suspending Time : Musée D'art Moderne De La Ville De Paris, 2 February-7 May 2006. Paris, France: Paris Musées, 2006. page number: Mentioned and reproduced: P. 106, no. 14; mentioned: P. 305-306, no. 14 url: Brown, Heather Lemonedes. “Introducing the Nabis.” In Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900. Mary Weaver Chapin and Heather Lemonedes Brown, 1-19. Cleveland: Cleveland Museum of Art, 2021. page number: Mentioned and Reproduced: P. 11, fig. 13 url: --- IMAGES