Preparatory Sketch for ‘Coffee’ by Pierre Bonnard

Preparatory Sketch for ‘Coffee’ 1915

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Dimensions: support: 137 x 96 mm

Copyright: © ADAGP, Paris and DACS, London 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate

Curator: Bonnard's "Preparatory Sketch for 'Coffee'" at the Tate, rendered in pencil, strikes me as surprisingly intimate. Editor: Intimate, yes, but also somewhat melancholic. The figure seems isolated, even with the dog present. Curator: It's a glimpse into a private moment, mediated by class. Coffee wasn’t just a drink, but a social ritual marking a certain bourgeois experience. Editor: And the sketchiness of the lines adds to the sense of immediacy, almost as if we're intruding on a fleeting moment. The dog, the table setting, they all seem… unstable. Curator: Yet, this instability captures the Impressionist project: the ephemeral nature of modern life itself. The sketch becomes a study of perception, not just representation. Editor: I agree. Looking at it, I'm wondering about the sitter’s gaze, and the narratives that Bonnard constructs around domesticity and gender. Curator: Ultimately, the work reveals how simple moments of middle-class life are rich in cultural significance. Editor: Precisely, and it reminds us to look beyond the surface and question those structures.

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tate about 1 month ago

http://www.tate.org.uk/art/artworks/bonnard-preparatory-sketch-for-coffee-t06546

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tate's Profile Picture
tate about 1 month ago

Coffee 1915 (Tate N05414) is a large oil painting on canvas by the French artist Pierre Bonnard. Three pencil sketches on paper relating to the work, all entitled Preparatory Sketch for ‘Coffee’ and each made in 1915, are also in Tate’s collection (Tate T06545, T06546, T06547). In the painting, a table is shown from the front and at a slightly elevated angle. It is covered in a bright red and white checked tablecloth on which a coffee pot, two white cups and a serving platter for food have been placed. The table is only partially shown and extends into the foreground to meet the canvas’s lower edge. A woman dressed in vivid yellow sits at the far side of the table, sipping a cup of coffee and turning towards a small dog, who is standing on the edge of the chair with two paws on the table. The torso and arm of a second woman, dressed in blue, is seen reaching down towards a glass on the table, and it is unclear whether she is entering or leaving the room. The composition is framed at the right by a yellow, red and blue decorative border running down the side of the painting; this is echoed by a similar band of colour on the wall behind the dog. A wall hanging or painting appears in the background. The palette is restricted almost entirely to red, yellow, blue, white and brown, and the black serving platter contrasts strikingly with the vibrant tablecloth, providing a solid form on which to focus. Some objects, such as the chair to the left, cast strong shadows in vivid colours. The atmosphere is one of quiet domesticity and the viewer is positioned as if about to join the woman.