Convocation 

Editor: This is “Convocation” by Pierre Bonnard; we don’t have a specific date, and the materials appear to be oils on canvas. It’s a really intimate, domestic scene with a strange sense of detachment between the figures and objects. What social narratives do you think Bonnard might be exploring? Curator: Considering Bonnard’s association with the Nabis, who were interested in Symbolism, I think the detachment you observed is crucial. It removes the scene from pure naturalism. The high vantage point flattens the perspective, almost like a stage set. Is Bonnard commenting on bourgeois life, perhaps suggesting a lack of genuine connection within these domestic rituals? Editor: The idea of a 'stage set' is interesting! It feels like the table is very intentionally presented to the viewer with each object like a symbolic offering. It leads me to wonder about the viewers back then. How was this received when first exhibited? Curator: Bonnard aimed for more than mere decoration. I find myself thinking about the role of the avant-garde exhibitions at the time and their intent to challenge accepted Salon aesthetics, as a form of social rebellion against expectations regarding beauty, technique, or subject matter. How did the critics grapple with that then, when looking at these domestic scenes? Were they celebrating or critiquing them, and how did these interpretations relate to their understanding of modern life? Editor: So it’s not just a picture of lunch; it's a conversation about art and its purpose in society! It makes me see so much more depth in what I initially perceived as just a quiet interior. Curator: Exactly. Considering how we see these pieces displayed now in the quiet of a gallery versus their potentially jarring introduction to contemporary audiences at the time shifts my perspective considerably. I’ll be sure to ponder that the next time I see Bonnard on display.