GENERAL DESCRIPTION
Supporting herself on a light blue chair, a woman bends over to reach her right foot, perhaps to pull up her stocking. The interior is bathed in a warm light, and visible brushstrokes suggest a space that is evanescent rather than realistic. Although a friend of both Claude Monet and Pierre-Auguste Renoir, Pierre Bonnard did not approach art in the same way as the impressionists. He believed that working from direct observation was a temptation to be avoided, as it corrupted the purity of the artist’s original idea. For this reason, Bonnard treasured his studio as a refuge from distraction. “One always talks of surrendering to nature,” he said, but “there is also such a thing as surrendering to the picture.”
Excerpt from
Heather MacDonald, DMA Label copy (1981.101), n.d.
NOTES
Label text in TMS but not shown as Public Notes. Have passed this question to BMac.
Added former titles: Nu, Fond Jaune; Sortie de Bain
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
oil paint
canvas
Historical periods
Individuals
Subject terms
yellow
bathing
nude
woman
pink
blue
interior spaces
chair
stocking
brushstrokes
studio
vanity
RELATED OBJECTS
PROVENANCE
c. 1924-1967: Bonnard family, by descent from the artist [1]
1967-1981: Meadows Family, purchased from Wildenstein & Co., New York
From 1981: Dallas Museum of Fine Arts, gift of the Meadows Foundation, Inc. (Linda P. Evans) [2]
[1] This early provenance comes from J. Dauberville and H. Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol. I, (Paris, 1965), 230. The following note appears in an undated research document in the Collections Records Object File-- Bonnard, III (Succession, Bonnard, inv. No. 112); collection particulière, photographie communiquée par la famille de l'artiste.
[2] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
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TEACHING IDEAS
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Apply to objects where number equals 1981.101
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General Description
Supporting herself on a light blue chair, a woman bends over to reach her right foot, perhaps to pull up her stocking. The interior is bathed in a warm light, and visible brushstrokes suggest a space that is evanescent rather than realistic. Although a friend of both Claude Monet and Pierre-Auguste Renoir, Pierre Bonnard did not approach art in the same way as the impressionists. He believed that working from direct observation was a temptation to be avoided, as it corrupted the purity of the artist’s original idea. For this reason, Bonnard treasured his studio as a refuge from distraction. “One always talks of surrendering to nature,” he said, but “there is also such a thing as surrendering to the picture.”
Excerpt from
Heather MacDonald, DMA Label copy (1981.101), n.d.
Fun Facts
Archival Resources
Web Resources
Notes
Label text in TMS but not shown as Public Notes. Have passed this question to BMac.
Added former titles: Nu, Fond Jaune; Sortie de Bain
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
oil paint
canvas
Historical periods
Individuals
Subject terms
yellow
bathing
nude
woman
pink
blue
interior spaces
chair
stocking
brushstrokes
studio
vanity
RELATED OBJECTS
PROVENANCE
c. 1924-1967: Bonnard family, by descent from the artist [1]
1967-1981: Meadows Family, purchased from Wildenstein & Co., New York
From 1981: Dallas Museum of Fine Arts, gift of the Meadows Foundation, Inc. (Linda P. Evans) [2]
[1] This early provenance comes from J. Dauberville and H. Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol. I, (Paris, 1965), 230. The following note appears in an undated research document in the Collections Records Object File-- Bonnard, III (Succession, Bonnard, inv. No. 112); collection particulière, photographie communiquée par la famille de l'artiste.
[2] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
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1981.101
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object_notes_4_c-0139.xml.nores