Who painted Procession or Pardon at Perros-Guirec?

Procession or Pardon at Perros-Guirec was painted by Maurice Denis in 1891-01-01.

Where can I see Procession or Pardon at Perros-Guirec?

Procession or Pardon at Perros-Guirec is held by Cleveland Museum of Art.

What movement is Procession or Pardon at Perros-Guirec?

Procession or Pardon at Perros-Guirec is associated with Les Nabis.

Can I buy a print of Procession or Pardon at Perros-Guirec?

Museum-quality prints of Procession or Pardon at Perros-Guirec are available made-to-order from Artifact World Gallery.

Procession or Pardon at Perros-Guirec by Maurice Denis (1891)

About this work

Subject & Meaning

The painting depicts a processional parade, as identified in its cataloguing, situating the work within the tradition of religious art.

The painting depicts a processional parade, as identified in its cataloguing, situating the work within the tradition of religious art. The title references a "pardon," a term for the local penitential processions and pilgrimages held in Brittany, where communities gather for blessings, communal worship, and acts of devotion. By framing the scene as a procession at Perros-Guirec, a coastal town in Brittany, Denis engages with the enduring folk-religious customs of the region, presenting collective ritual as a subject worthy of serious pictorial treatment.

The work thus represents both a documentation of Breton Catholic practice and an elevation of that practice into the realm of fine art, consistent with Denis's broader interest in renewing religious imagery through contemporary subjects.

History & Provenance

Maurice Denis created the oil painting Procession or Pardon at Perros-Guirec in 1891 within France. Executed on canvas, the work measures 61 cm in height and 40.6 cm in width. The piece depicts a religious processional parade, reflecting its classification as religious art.

Currently, the painting resides in the collection of the Cleveland Museum of Art, where it is held as part of their permanent holdings. The work's inception is dated specifically to January 1, 1891, marking its completion during the early phase of Denis's career. No specific details regarding the original commissioning patron or the precise chain of ownership prior to its arrival at the Cleveland Museum of Art are provided in the available records.

Procession or Pardon at Perros‑Guirec is held in the Cleveland Museum of Art, where it is accessioned as part of the museum’s collection of paintings. The work, executed in oil on canvas in 1891, is listed in the museum’s records with the title, artist, date and medium as given in its cataloguing data. No specific exhibition records are cited in the available sources, indicating that the painting’s public display history is not documented in the provided references.

Context

The 1891 oil on canvas titled Procession or Pardon at Perros-Guirec exemplifies Maurice Denis’s late 19th‑century religious oeuvre, combining Symbolist spirituality with a decorative approach to form. Depicting a coastal procession, the work reflects Denis’s interest in liturgical subjects and his synthesis of religious narrative with modernist composition. Its inclusion in the Cleveland Museum of Art collection has enabled focused scholarship on Denis’s devotional paintings, positioning the piece as a key reference for understanding his transition from Nabi influences toward a more personal iconography.

Critical assessments highlight its balanced use of color and line, underscoring its significance within the artist’s mature period.

Overview

Maurice Denis, a French artist linked to the Nabis and Symbolist movements, completed Procession or Pardon at Perros-Guirec in 1896. This oil painting captures a religious procession, reflecting Denis's consistent engagement with spiritual subjects. The work exemplifies the Nabis' distinctive stylistic approach, characterized by simplified forms and bold color. It is presently housed in the collection of The Cleveland Museum of Art.

Technique & Style

Denis employed oil paint with a distinctive, tactile quality in this work. The Nabis' influence is evident in the painting's simplified forms and the application of color. Bright greens, yellows, and reds are rendered with thick, uneven brushstrokes, creating a textured, almost impasto surface.

This technique contributes to the rough, vibrant appearance of the scene, where individual features are softened, and the background merges into an abstract blend of natural elements.