André Bénac1936 · Study 1981.63

Context from the museum

Vuillard belonged to the artistic movement called The Nabis, the Hebrew term for prophet. The Nabis banded together in the late 19th century to create a new artistic language based upon the expressive potential of decorative color and stylized forms. Vuillard's success as part of this group encouraged wealthy patrons to seek his services, but for more realistically rendered portraits. The present piece was requested by the Compagnie Parisienne de Distribution d'Éléctricité, the Paris company for which the sitter, André Bénac, was president. The commission was made to commemorate Bénac receiving the Grand Croix, the highest award of the Legion of Honor. Vuillard made two versions of the portrait-this one meant for Bénac and another one, now in Zurich, Switzerland, (see photo), to remain the property of the company. In each case, the sitter appears in his living room/office, and he holds an identical pose, showing the same warm, friendly smile. However, in the museum's portrait, Vuillard omitted a significant portion of the surrounding room and altered the format from horizontal to vertical. The viewer can focus more easily upon the man represented because the diagonal of the table has been cut closer to the sitter and no longer leads the eye away toward the window. Photo of: Vuillard. André Bénac, 1935-36; distemper on canvas; 51 in. x 61 1/2 in. Fondation Rau pour le Tiers-Monde, Zurich.

Museum description reproduced from its CC0 open-access record. Read the original catalog entry.

A detail to notice

In the final two decades of his life, Vuillard focused primarily on painting portraits of notable figures in finance, politics, art, and literature.

Observation supplied by the Cleveland Museum of Art.

Read the dimensions before the image

The selected unframed measurement for André Bénac is 96.8 cm wide and 124 cm high, equivalent to approximately 38.1 × 48.8 inches. Dividing width by height gives a format ratio of 0.78:1. The rectangular bounding area is 1.20 square meters; it describes the measured footprint, not the amount of paint or the monetary value.

On an illustrative 300 cm wall, the recorded width occupies 32.3% of the span before adding a frame. A centered placement leaves approximately 101.6 cm on each side before adding a frame. These are calculations by Physical Art For Crypto using museum measurements. They are not the museum’s display recommendations.

Questions to bring to your own collection

With André Bénac in view, identify one feature you can point to, then distinguish what the museum records from your personal response. Keep its medium, oil on fabric, in your notes when comparing contemporary works.

• Which part of this vertical composition catches your eye first?
• Would a 96.8 cm width still suit the space after allowing for furniture and a frame?
• What surface detail would you need to see in person or in a close photograph?