An artwork on Galleree from Cleveland Museum of Art.
About the artwork
Nursemaids’ Promenade, Frieze of Carriages1895
Pierre Bonnard
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.
This charming scene of a nanny and her three charges extends across four panels meant to be mounted as a folding screen. Pierre Bonnard emulated the solidly colored flat forms of Japanese color woodcut prints, which he collected. He featured the screen in his first solo exhibition at Paris's prestigious Galeries Durand-Ruel in 1896.
Although this screen was issued in an edition of 110, only about 20 copies survive today.
color lithographs on wove paper, screen with four panels
Sheet: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.); Image: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.)
Gift of Nancy and Joseph P. Keithley by exchange
In a sunlit room, a captivating scene unfolds across four delicate panels of a folding screen. It tells the story of a devoted nanny and her trio of lively children, each panel bursting with vibrant hues that pulse with life. This charming imagery invites viewers into a world where care and joy intertwine, painting a moment frozen in time.
The artist behind this enchanting display, Pierre Bonnard, was profoundly influenced by the rich artistry of Japanese color woodcut prints. With a collector’s eye, he embraced the flat forms and solid colors that characterized that tradition, weaving them elegantly into his own work. His admiration for this style radiates through the screen, celebrating both the innocence of childhood and the tender bond of a caregiver.
In 1896, this folding screen took center stage at the prestigious Galeries Durand-Ruel in Paris, marking a pivotal moment in Bonnard’s young career. It was his first solo exhibition, a debut that captured the attention of art lovers and critics alike. The screens not only showcased his talent but also reflected his passion for blending influences from East and West, thus inviting us to appreciate the universal nature of love and nurture.
In each brushstroke lies a story waiting to be shared, reminding us that art, like the relationships it portraits, can bridge diverse cultures and resonate deeply within the human spirit.
About the artist
Creating transformative experiences through art “for the benefit of all the people forever.”The Cleveland Museum of Art is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The artworks shared on this platform are sourced from the museum's Open Access data under the CC0 license. No endorsement is implied.Address: 11150 East Boulevard, Cleveland, OH, USA 44106
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