Dimensions: support: 137 x 96 mm
Copyright: © ADAGP, Paris and DACS, London 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is Pierre Bonnard’s ‘Preparatory Sketch for ‘Coffee’’. It’s a small pencil drawing held at the Tate. I’m struck by its intimacy and the sense of quiet observation. What do you see in this piece? Curator: Notice how the figures huddle together. The lack of distinct facial features directs our attention inwards. Coffee, historically, has symbolized communion and contemplation. What memories or feelings does coffee evoke for you? Editor: I think of early mornings and conversation. The way the figures are drawn makes them feel both present and somehow anonymous. Curator: Precisely. Bonnard captures a fleeting moment, charged with the weight of shared rituals. The sketch is a conduit to universal human experiences. Editor: I hadn't considered the universality of it before, but I see your point. Thanks for sharing your perspective. Curator: It's a reminder that even the simplest scenes can hold profound symbolic depth.
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http://www.tate.org.uk/art/artworks/bonnard-preparatory-sketch-for-coffee-t06547
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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.
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