Woman Sweeping at 346 rue Saint-Honoré CMA(6c)
Week 8 Domesticity (1336 – 1340) 3/26– 3/30/2023
ID 1336
Édouard Vuillard French 1868 - 1940
Woman Sweeping at 346 rue Saint-Honoré, 1895
Oil on board
A leading member of the Nabis (Hebrew for “prophets”), Édouard Vuillard is perhaps best known for his intimate depictions of quiet interiors. This painting depicts his home on the rue Saint-Honoré in Paris where he lived with his mother and sister and closely observed their work as dress and corset makers. His mother is depicted sweeping the room after it has been cleared of working materials in the evening. Her body merges into the pattern of rich colors and decorative shapes evoking a mood of quiet contemplation and domesticity.
Promised Gift of Nancy F. and Joseph P. Keithley 13.2020
From the Placard: The Cleveland Museum of Art
(writing about The French Art Dealer Ambroise Vollard)
By 1900, despite his reputation as a grumpy old man who glared at prospective customers from the depths of his fusty gallery, he lived surrounded by artists. In the basement of his gallery he had a dining room, familiarly known as ‘la cave’ (the cellar), where he entertained the artistic and literary elite of his day, and others including collectors, politicians and a nun who joined them regularly, until it emerged that the ‘sister’, despite her convincing attire, was not actually of the faith. In the early days, Renoir was a regular guest, as were Bonnard, Vuillard and Misia Natanson, the sparkling socialite and wife of the editor of La Revue blanche (she would later marry Spanish painter José-Maria Sert and become Sergei Diaghilev’s most loyal friend). Vollard cooked for his guests himself, preparing dishes from La Réunion, spiced in the Caribbean style. He was an enthusiastic, if not very talkative, host. First and foremost, however, he was a shrewd and talented businessman. Van Gogh, he still believed in. Cézanne, despite his increasing years, might turn out to be a major winner yet; and he was always on the lookout for younger newcomers.
Sue Roe: In Montmarte Picasso, Matisse and the Birth of Modernist Art, Penguin Books, 2014, pg 34-35
Woman Sweeping at 346 rue Saint-Honoré CMA(6c)
Week 8 Domesticity (1336 – 1340) 3/26– 3/30/2023
ID 1336
Édouard Vuillard French 1868 - 1940
Woman Sweeping at 346 rue Saint-Honoré, 1895
Oil on board
A leading member of the Nabis (Hebrew for “prophets”), Édouard Vuillard is perhaps best known for his intimate depictions of quiet interiors. This painting depicts his home on the rue Saint-Honoré in Paris where he lived with his mother and sister and closely observed their work as dress and corset makers. His mother is depicted sweeping the room after it has been cleared of working materials in the evening. Her body merges into the pattern of rich colors and decorative shapes evoking a mood of quiet contemplation and domesticity.
Promised Gift of Nancy F. and Joseph P. Keithley 13.2020
From the Placard: The Cleveland Museum of Art
(writing about The French Art Dealer Ambroise Vollard)
By 1900, despite his reputation as a grumpy old man who glared at prospective customers from the depths of his fusty gallery, he lived surrounded by artists. In the basement of his gallery he had a dining room, familiarly known as ‘la cave’ (the cellar), where he entertained the artistic and literary elite of his day, and others including collectors, politicians and a nun who joined them regularly, until it emerged that the ‘sister’, despite her convincing attire, was not actually of the faith. In the early days, Renoir was a regular guest, as were Bonnard, Vuillard and Misia Natanson, the sparkling socialite and wife of the editor of La Revue blanche (she would later marry Spanish painter José-Maria Sert and become Sergei Diaghilev’s most loyal friend). Vollard cooked for his guests himself, preparing dishes from La Réunion, spiced in the Caribbean style. He was an enthusiastic, if not very talkative, host. First and foremost, however, he was a shrewd and talented businessman. Van Gogh, he still believed in. Cézanne, despite his increasing years, might turn out to be a major winner yet; and he was always on the lookout for younger newcomers.
Sue Roe: In Montmarte Picasso, Matisse and the Birth of Modernist Art, Penguin Books, 2014, pg 34-35