id: 82903 accession number: 2020.150 share license status: CC0 url: https://clevelandart.org/art/2020.150 updated: 2024-03-26 01:55:51.981000 Family Scene, 1893. Pierre Bonnard (French, 1867–1947). 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 title: Family Scene 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: --- culture: France, 19th century technique: color lithograph on beige wove paper department: Prints collection: PR - Lithograph type: Print find spot: catalogue raisonne: Bouvet 4 --- 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. * L'Estampe Originale - publisher --- 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.) state of the work: edition of the work: 100 support materials: description: beige wove paper watermarks: inscriptions: inscription: signed and inscribed, lower right, in graphite: no. 22 / P. Bonnard translation: remark: inscription: at lower left: blind stamp of L’Estampe Originale translation: remark: inscription: in pencil on recto, lower right: "No. 6 (?)/P. Bonnard (signed)" translation: remark: --- CURRENT EXHIBITIONS title: Private Lives: Home and Family in the Art of the Nabis, Paris, 1889–1900 opening date: 2021-07-01T04:00:00 Private Lives: Home and Family in the Art of the Nabis, Paris, 1889–1900. 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). 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 --- PROVENANCE (Mark Rosen Fine Art, New York, NY, sold to Nancy F. and Joseph P. Keithley, Shaker Heights, OH) date: ?-2005 footnotes: citations: Nancy F. and Joseph P. Keithley, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH date: 2005-2020 footnotes: citations: The Cleveland Museum of Art, Cleveland, OH date: 2020 footnotes: citations: --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS Bouvet, Francis. Bonnard: The Complete Graphic Work. New York: Rizzoli, 1981. page number: Mentioned: no. 4. url: Chapin, Mary Weaver. “Family Life.’” 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: Brown, Heather Lemonedes. “Curating 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.” Cleveland Art: Cleveland Museum of Art Members Magazine 61, no. 2 (Spring 2021): 18-21. page number: Reproduced: P. 21 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/2020.150/2020.150_web.jpg print: https://openaccess-cdn.clevelandart.org/2020.150/2020.150_print.jpg full: https://openaccess-cdn.clevelandart.org/2020.150/2020.150_full.tif