Pierre Bonnard / Nursemaid's Promenade with Frieze of Carriages / 1899Pierre Bonnard
Nursemaid's Promenade with Frieze of Carriages
1899

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Creator Name: Bonnard, Pierre
Creator Nationality: European; French
Creator Role: Artist
Creator Dates/Places: 1867 - 1947
Biography:

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 (q.v.) 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.


Gender: M
Creator Birth Place: Fontenay-aux-Roses, 3 October 1867
Creator Death Place: Le Cannet, 23 January 1947
Creator Name-CRT: Pierre Bonnard
Title: Nursemaid's Promenade with Frieze of Carriages
Title Type: Primary
View: Full View
Creation Start Date: 1899
Creation End Date: 1899
Creation Date: 1899
Object Type: Prints
Classification Term: Print
Materials and Techniques: color lithograph
Dimensions: Sheet: 136.1cm x 45.9cm
AMICA Contributor: The Cleveland Museum of Art
Owner Location: Cleveland, Ohio, USA
ID Number: 1985.23.d
Credit Line: Leonard C. Hanna, Jr. Fund
Copyright: ? Artists Rights Society (ARS), New York / ADAGP, Paris
Rights: http://www.arsny.com
Context:

In the 1890s a group of French artists called the Nabis sought to link art with life and, in turn, favored the application of art to the design of ordinary items, such as fans, theater scenery, stained glass, or screens. An influx of Japanese screens and the popular pracitice of mounting color posters on folding screens inspired Bonnard to work in this format, but Nursemaid's Promenade is his only printed version.

Bonnard's work reflects the influence of Japanese models through the simplification of form, asymmetrical composition, elevated perspective, flattened space, and a bold, decorative juxtaposition of linear arabesque and pattern. The scraggly, humorous Parisian dog is borrowed from contemporary caricaturists.


AMICA ID: CMA_.1985.23.d
AMICA Library Year: 2002
Media Metadata Rights: Copyright, The Cleveland Museum of Art

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