弗朗索瓦·邦萬認(rèn)領(lǐng)

A lute and flute rest on top of sheet music. This painting was intended to hang above a door, opposite still lifes that represented the other fine arts of painting and sculpture (the two related paintings are in the Musée du Louvre, Paris). Bonvin was part of the 19th-century movement known as Realism. Led by Gustave Courbet (1819-1877), the Realist painters were interested in depicting the world that surrounded them, as well as the popular culture of their time.

Fran?ois Bonvin was a prolific watercolorist, and he developed a lifelong interest in modest religious subjects showing scenes of everyday life. This delightfully simple image of a nun knitting reveals the artist's appreciation for 17th-century Dutch artists such as Johannes Vermeer (1632-1675), whose work he copied.

The subject of the woman at the piano was a recurrent theme in Bonvin’s oeuvre. The pianist depicted here was likely Céline Prunaire, a 21-year-old musician who married the much older artist in 1860. Although the meticulously rendered composition celebrates the grace and propriety of the young woman, the happiness of the couple’s union was fleeting. Prunaire left the artist after fewer than three years, never to return. The pink carnation at her feet suggests a note of foreboding to the image, perhaps intended to allude to the ephemeral nature of music and sentimental bonds.

Bonvin was fascinated by the realism of 17th-century Dutch, Flemish, and Spanish still life paintings. He was also aware of the French Realist movement, a highly candid, straightforward style with political overtones. This work embodies both the realism for which Bonvin was famous and the still life paintings of earlier periods. The woman in the painting is Louison K?hler (1850–?), the artist's mistress. After two failed marriages, Bonvin met her in 1870, and she remained with him until his death, appearing in several of his paintings. The image of the reclining woman hanging directly over Louison's head probably suggests the carnal nature of their relationship. Bonvin borrowed this image—a swooning, overjoyed female—from the famous painting Bacchanal by Titian (1485–1576), now in the Prado Museum in Madrid.