{
"data": {
"id": 82903,
"accession_number": "2020.150",
"share_license_status": "CC0",
"tombstone": "Family Scene, 1893. Pierre Bonnard (French, 1867\u20131947). Color lithograph on beige wove paper; image: 28.8 x 19.8 cm (11 5/16 x 7 13/16 in.); sheet: 56.5 x 43.5 cm (22 1/4 x 17 1/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.150",
"current_location": null,
"title": "Family Scene",
"creation_date": "1893",
"creation_date_earliest": 1893,
"creation_date_latest": 1893,
"artists_tags": [
"male",
"Nabis"
],
"culture": [
"France, 19th century"
],
"technique": "color lithograph on beige wove paper",
"support_materials": [
{
"description": "beige wove paper",
"watermarks": []
}
],
"department": "Prints",
"collection": "PR - Lithograph",
"type": "Print",
"measurements": "Image: 28.8 x 19.8 cm (11 5/16 x 7 13/16 in.); Sheet: 56.5 x 43.5 cm (22 1/4 x 17 1/8 in.)",
"dimensions": {
"sheet": {
"height": 0.565,
"height_inch": 22,
"height_inch_fraction": 0.25,
"width": 0.435,
"width_inch": 17,
"width_inch_fraction": 0.125
},
"image": {
"height": 0.288,
"height_inch": 11,
"height_inch_fraction": 0.3125,
"width": 0.198,
"width_inch": 7,
"width_inch_fraction": 0.8125
}
},
"state_of_the_work": null,
"edition_of_the_work": "100",
"copyright": null,
"inscriptions": [
{
"inscription": "signed and inscribed, lower right, in graphite: no. 22 / P. Bonnard",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
},
{
"inscription": "at lower left: blind stamp of L\u2019Estampe Originale",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
},
{
"inscription": "in pencil on recto, lower right: \"No. 6 (?)/P. Bonnard (signed)\"",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 329533,
"title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900",
"description": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).",
"opening_date": "2021-07-01T04:00:00"
},
{
"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": []
},
"provenance": [
{
"description": "(Mark Rosen Fine Art, New York, NY, sold to Nancy F. and Joseph P. Keithley, Shaker Heights, OH)",
"citations": [],
"footnotes": [],
"date": "?-2005",
"sortorder": 1
},
{
"description": "Nancy F. and Joseph P. Keithley, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": [],
"date": "2005-2020",
"sortorder": 2
},
{
"description": "The Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": [],
"date": "2020",
"sortorder": 3
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": "The embossed mark below the lower left corner of this print indicates that it was included in L'Estampe Originale, a monthly luxury publication during the 1890s that featured original prints.",
"description": "Pierre Bonnard favored domestic scenes, often focusing on the intimacy of family life. This early lithograph is one of several that he made depicting his sister Andr\u00e9e and her infant son Jean, born the year before. Bonnard included himself in the image at lower right, gazing at his nephew. The awkward cropping of the figures of the artist and his sister, along with the flat planes of color throughout the image, suggest the influence of Japanese woodblock prints on Bonnard during this period.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q87480844"
],
"internet_archive": [
"https://archive.org/details/clevelandart-2020.150-family-scene"
]
},
"citations": [
{
"citation": "Bouvet, Francis. Bonnard: The Complete Graphic Work. New York: Rizzoli, 1981.",
"page_number": "Mentioned: no. 4.",
"url": ""
},
{
"citation": "Chapin, Mary Weaver. \u201cFamily Life.\u2019\u201d In Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900. Mary Weaver Chapin and Heather Lemonedes Brown, 100-137. Cleveland: Cleveland Museum of Art, 2021.",
"page_number": "Mentioned: P. 105; Reproduced: P. 133, no. 77",
"url": ""
},
{
"citation": "Brown, Heather Lemonedes. \u201cCurating Private Lives: Two curators thousands of miles apart collaborate on a show that depicts everyday life in Paris at the turn of the 19th century.\u201d Cleveland Art: Cleveland Museum of Art Members Magazine 61, no. 2 (Spring 2021): 18-21.",
"page_number": "Reproduced: P. 21",
"url": "https://archive.org/details/CMAMM2021-02/page/18/mode/2up"
},
{
"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. 104-105; Mentioned: p. 254-257",
"url": ""
}
],
"catalogue_raisonne": "Bouvet 4",
"url": "https://clevelandart.org/art/2020.150",
"images": {
"annotation": null,
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"width": "650",
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"print": {
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"alternate_images": [
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"date_created": "2020-02-19T10:36:38",
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"creditline": "Nancy F. and Joseph P. Keithley Collection Gift",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 82903,
"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,
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"weight": 1
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{
"id": 68429,
"description": "L'Estampe Originale",
"extent": "published by",
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"role": "publisher",
"biography": null,
"name_in_original_language": null,
"use_in_caption": false,
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"weight": 2
}
],
"legal_status": "accessioned",
"accession_date": "2020-03-02T00:00:00-05:00",
"sortable_date": 1893,
"date_added_to_oa": null,
"date_text": "1893",
"collapse_artists": true,
"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": "22",
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-05-12 11:10:14.087000"
}
}