Garden

Marking: Studio stamp (lower right): Bonnard

the artist (ca. 1935–d. 1947; his estate, 1947–63; inv. no. 58); his heirs, the Terrasse family (1963; to Wildenstein); [Wildenstein, 1963–69; sold on July 2, 1969 to Annenberg]; Walter H. and Leonore Annenberg, Rancho Mirage, California (1969–his d. 2002; his bequest to MMA)

London. Royal Academy of Arts. "Pierre Bonnard: 1867–1947," January 6–March 6, 1966, no. 229 (as "La Prairie Fleurie," lent by a private collection, U. S. A.).

London. Tate Gallery. "The Annenberg Collection," September 2–October 8, 1969, no. 1 (as "La Prairie fleurie").

Philadelphia Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," May 21–September 17, 1989, unnumbered cat. (p. 123; as "Meadow in Bloom").

Washington. National Gallery of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," May 6–August 5, 1990, unnumbered cat.

Los Angeles County Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," August 16–November 11, 1990, unnumbered cat.

New York. The Metropolitan Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," June 4–October 13, 1991, unnumbered cat.

Jean Bouret. Bonnard Séductions. Lausanne, 1967, fig. 20 (color), as "La Prairie fleurie," 1935.

M. Roy Fisher. The Annenberg Collection. Exh. cat., Tate Gallery. London, 1969, unpaginated, no. 1, ill. (color), dates it about 1935.

Jean and Henry Dauberville. Bonnard: Catalogue raisonné de l'œuvre peint. Vol. 3, 1920–1939. Paris, 1973, p. 416, no. 1530, ill., call it "Le Jardin" and date it about 1935.

Michel Terrasse. Bonnard at Le Cannet. New York, 1988, p. 123.

Mark Rosenthal in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Ed. Colin B. Bailey, Joseph J. Rishel, and Mark Rosenthal. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 122–23, 208–9, ill. (color and bw), identifies it as probably the garden at Bonnard's home, Le Bosquet in Le Cannet; suggests that the white form in the upper left center of the composition is the figure of a woman; calls it "a unique attempt by Bonnard to apply the compositional arrangement of his domestic environments to a landscape".

Jérôme Coignard. "Le Salon de peinture de Mr. et Mrs. Annenberg." Beaux Arts no. 92 (July–August 1991), p. 73, ill. (color).

Mark Rosenthal in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 257–59, no. 48, ill. (color), as "Garden"; notes that a similar angular white form is legible as a fence post in "Landscape in the South, Le Cannet" (1943–45; MMA, Robert Lehman Collection; D1627) [see Ref. Rosenthal 1991].

Colta Ives. Public Parks, Private Gardens: Paris to Provence. Exh. cat., The Metropolitan Museum of Art. New York, 2018, pp. 105, 178, fig. 104 (color).

Cathy Curtis. Alive Still: Nell Blaine, American Painter. New York, 2019, pp. 206, 269 n. 97.