Art/ Collection/ Art Object

Morning in the Garden at Vernonnet

Artist:
Pierre Bonnard (French, Fontenay-aux-Roses 1867–1947 Le Cannet)
Date:
1917
Medium:
Oil on canvas
Dimensions:
33 3/4 x 44 3/4 in. (85.7 x 113.7 cm)
Classification:
Paintings
Credit Line:
Bequest of Scofield Thayer, 1982
Accession Number:
1984.433.4
Rights and Reproduction:
© 2016 Artists Rights Society (ARS), New York
On view at The Met Fifth Avenue in Gallery 828
Inscription: Signed (lower right): Bonnard
[Bernheim-Jeune, Paris, from 1917; acquired from the artist]; [Galerie de L'Art Moderne, Lucerne; sold to Independent Gallery]; [Independent Gallery, London, until 1923; sold in October 1923, for $2,500, to Thayer]; Scofield Thayer, New York (1923–d. 1982; on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1936–82; his bequest to MMA)

Paris. Bernheim-Jeune. "Exposition de peinture, Série D," May 1–11, 1917, no. 13 [see Ref. Dauberville 1968].

New York. Montross Gallery. "Original Paintings, Drawings, and Engravings being Exhibited with the Dial Folio 'Living Art'," January 26–February 14, 1924, unnum. checklist (as "Le Jardin").

Worcester Art Museum. "Exhibition of the Dial Collection of Paintings, Engravings, and Drawings by Contemporary Artists," March 5–30, 1924, no. 2 (as "Le Jardin").

Northampton, Mass. Hillyer Art Gallery, Smith College. "The Dial Collection," Spring 1924, no catalogue.

Columbus Gallery of Fine Arts. "Modern French Masters," November 28–December 31, 1952, no. 3 (as "The Garden," lent by Mrs. Aldus C. Higgins) [erroneous credit line].

Akron Art Institute. "Modern French Masters," January 13–February 16, 1953, no. 3.

Worcester Art Museum. "Modern French Masters," March 5–April 12, 1953, no. 3.

Worcester Art Museum. "The Dial and the Dial Collection," April 30–September 8, 1959, no. 5 (as "The Garden").

Worcester Art Museum. "'The Dial': Arts and Letters in the 1920s," March 7–May 10, 1981, no. 9 (as "The Garden").

New York. The Metropolitan Museum of Art. "Selection Two: Twentieth-Century Art," June 4–September 2, 1985, no catalogue.

Canberra. Australian National Gallery. "20th Century Masters from The Metropolitan Museum of Art, New York," March 1–April 27, 1986, unnumbered cat. (p. 28; as "Morning in the Garden").

Brisbane. Queensland Art Gallery. "20th Century Masters from The Metropolitan Museum of Art, New York," May 7–July 1, 1986, unnumbered cat.

New York. The Metropolitan Museum of Art. "Painters in Paris: 1895–1950," March 8–December 31, 2000, extended to January 14, 2001, unnumbered cat. (p. 88).

Kyoto Municipal Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," September 14–November 24, 2002, no. 31.

Tokyo. Bunkamura Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," December 7, 2002–March 9, 2003, no. 31.

"Originals of the Dial Folio of Living Art at Montross." Brooklyn Daily Eagle (February 3, 1924), p. 26.

Dial 81 (August 1926), ill. before p. 91 (color), as "Le Jardin".

Louisa Dresser in The Dial and the Dial Collection. Exh. cat., Worcester Art Museum. Worcester, Mass., 1959, p. 59, no. 5.

Jean and Henry Dauberville. Bonnard: Catalogue raisonné de l'œuvre peint. Vol. 2, 1906–1919. Paris, 1968, p. 413, no. 908, ill., as "Matin" or "Le Jardin".

Nicholas Joost. "The Dial Collection: Tastes and Trends of the 'Twenties." Apollo 94 (December 1971), pp. 488, 495 n. 5.

John Russell. "The Dial: Showcase of a Pioneer Collector." New York Times (May 3, 1981), p. D27.

Terence Measham in 20th Century Masters from The Metropolitan Museum of Art, New York. Exh. cat., Australian National Gallery. Canberra, 1986, p. 28, ill. (color), calls it a "decorative fantasy" suggesting pastoral myth that may have been painted in the south of France; identifies Marthe as the woman seated on the wall.

Charles Harrison. Painting the Difference: Sex and Spectator in Modern Art. Chicago, 2005, pp. 199–200, 225, fig. 143 (color), discusses the ambiguity of this picture's spatial organization, commenting that "its decorative integrity is stalked by the emotional complexity and strangeness of the world conjured into view".



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