Like Gauguin and the other Synthetists, Bernard admired folk art, particularly the crafts of Brittany. Increasingly drawn to Catholic mysticism in the early 1890s, he regarded the Bretons’ religious faith with reverence. Adorned with flowers, trees, and women picking apples in a kind of Breton Eden, this cabinet exemplifies Bernard’s desire to return art to its origins in craft, creating a beautiful and meaningful object for everyday use. Although the original purpose or source of the commission is unknown, this cabinet is likely the same mentioned by the artist’s sister, Madeleine, in her letters; it remained in the Bernard family until the 1920s.
- Artist Name: Émile Bernard (French, 1868-1941)
- Title: Cupboard
- Date: 1891-1893
- Medium: Carved and painted wood
- Dimensions: 95 x 59 x 20 in. (241.3 x 149.9 x 50.8 cm)
- Credit Line: Norton Simon Art Foundation, from the Estate of Jennifer Jones Simon
- Accession Number: M.2010.1.166.S
Returned to the artist;
Michael-Ange Bernard-Fort, (son of artist,1906-1992), Paris;
Mrs. Clément Altarriba (née Émilienne, called Elisabeth, daughter of artist, 1907-1993);
[Sylvia Blatas, Paris];
Norton Simon, by bequest to;
Jennifer Jones Simon Art Trust, to;
Norton Simon Art Foundation
- Norton Simon Museum, 1992-09-24 to 1993-07-18
Luthi, Jean-Jacques, Emile Bernard: Chef de l'ecole de Pont-Aven, pp. 7, 12
Stevens, Mary Anne, et al., Emile Bernard 1868-1941 A Pioneer of Modern Art, pp. 339-340, 352-353
Cariou, André, Les Peintres de Pont-Aven, p. 91
Mornand, Pierre, Emile Bernard et ses amis: van Gogh, Gauguin, Toulouse-Lautrec, Cézanne, Odilon Redon, p. 32
Brettell, Richard R. and Stephen F. Eisenman, Nineteenth-Century Art in the Norton Simon Museum, volume 1,
Emile Bernard: Målningar, akvareller, teckningar, grafik,
Campbell, Sara, Collector Without Walls: Norton Simon and His Hunt for the Best, cat. 1513 p. 415
Jaworska, Wladyslawa, Gauguin and the Pont-Aven School, p. 26
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