{"info": {"total": 18, "parameters": {"skip": 0, "limit": 1000, "q": "monet", "cc0": "1", "has_image": "1", "select": "accession_number,accession_number_sortable,cover_accession_number,department,collection,department,classification_type,gallery", "search": "monet"}}, "data": [{"id": 135382, "accession_number": "1958.39", "share_license_status": "CC0", "tombstone": "The Red Kerchief (Femme \u00e0 la capeline rouge), c. 1868\u201373. Claude Monet (French, 1840\u20131926). Oil on fabric; framed: 128.3 x 105.7 x 14.6 cm (50 1/2 x 41 5/8 x 5 3/4 in.); unframed: 99 x 79.8 cm (39 x 31 7/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.39", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Red Kerchief", "title_in_original_language": "Femme \u00e0 la capeline rouge", "creation_date": "c. 1868\u201373", "creation_date_earliest": 1868, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 128.3 x 105.7 x 14.6 cm (50 1/2 x 41 5/8 x 5 3/4 in.); Unframed: 99 x 79.8 cm (39 x 31 7/16 in.)", "dimensions": {"framed": {"height": 1.283, "height_inch": 50, "height_inch_fraction": 0.5, "width": 1.057, "width_inch": 41, "width_inch_fraction": 0.625, "depth": 0.146, "depth_inch": 5, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.99, "height_inch": 39, "height_inch_fraction": 0.0, "width": 0.798, "width_inch": 31, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Not signed\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 343629, "title": "Claude Monet - Seasons and Moments", "description": "<i>Claude Monet - Seasons and Moments</i>. The Museum of Modern Art (March 7-May 15, 1960); Los Angeles County Museum of Art (June 14-August 7, 1960).", "opening_date": "1960-03-07T05:00:00"}, {"id": 338832, "title": "Paintings by Monet", "description": "<i>Paintings by Monet</i>. The Art Institute of Chicago, Chicago, IL (organizer) (March 15-May 11, 1975).", "opening_date": "1975-03-15T04:00:00"}, {"id": 343615, "title": "Hommage a Claude Monet", "description": "<i>Hommage a Claude Monet</i>. Mus\u00e9e du Louvre, Paris, France (February 9-May 5, 1980).", "opening_date": "1980-02-09T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 343621, "title": "Claude Monet: 1840-1926", "description": "<i>Claude Monet: 1840-1926</i>. The Art Institute of Chicago, Chicago, IL (organizer) (July 14-November 26, 1995).", "opening_date": "1995-07-04T04:00:00"}, {"id": 213923, "title": "Impressionists in Winter: Effets de Neige", "description": "<i>Impressionists in Winter: Effets de Neige</i>. The Phillips Collection, Washington, DC (organizer) (September 19, 1998-January 3, 1999); Fine Arts Museum of San Francisco, Yerba Buena Gardens, CA (January 30-May 2, 1999); The Brooklyn Museum, Brooklyn, NY (May 27-August 29, 1999).", "opening_date": "1998-09-19T00:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Baltimore Museum of Art (organizer) (October 10, 1999-January 30, 2000); Museum of Fine Arts, Houston (March 25-May 7, 2000); The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 227545, "title": "Monet's Garden", "description": "<i>Monet's Garden</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (October 29, 2004-March 13, 2005).", "opening_date": "2004-10-29T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 216795, "title": "Becoming Edvard Munch: Influence, Anxiety, and Myth", "description": "<i>Becoming Edvard Munch: Influence, Anxiety, and Myth</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 14-April 26, 2009).", "opening_date": "2009-02-14T00:00:00"}, {"id": 220678, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (September 20, 2010-January 24, 2011).", "opening_date": "2010-09-20T00:00:00"}, {"id": 213320, "title": "Lend-Back - Painting the Modern Garden", "description": "<i>Lend-Back - Painting the Modern Garden</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (August 27, 2015-January 3, 2016).", "opening_date": "2015-08-27T00:00:00"}, {"id": 213583, "title": "Monet: The Early Years", "description": "<i>Monet: The Early Years</i>. Kimbell Art Museum, Fort Worth, TX (organizer) (October 16, 2016-January 29, 2017); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (February 25-May 29, 2017).", "opening_date": "2016-10-16T00:00:00"}, {"id": 304929, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Albertina, Wien, Austria (organizer) (September 21, 2018-January 6, 2019) https://www.albertina.at/en/exhibitions/monet/.", "opening_date": "2018-09-21T04:00:00"}], "legacy": [{"description": "<em>Claude Monet: Exposition r\u00e9trospective.</em> Mus\u00e9e de l'Orangerie, Paris, France (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em>Claude Monet de 1865 \u00e0 1888.</em> Durand-Ruel, Paris, France (1935).", "opening_date": "1935-01-01T00:00:00"}, {"description": "<em>Five Centuries of History Mirrored in Five Centuries of French Art.</em> World's Fair (Pavillon de la France), New York, NY (1939).", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Paintings by Claude Monet.</em> Wildenstein &amp; Co., New York, NY (1945).", "opening_date": "1945-01-01T00:00:00"}]}, "provenance": [{"description": "Michel Monet [1878-1966] Giverny, France, bequeathed from the artist's estate to his son, 1931", "citations": [], "footnotes": [], "date": "1931-1939", "sortorder": 1}, {"description": "Edouard Molyneux [1891-1974] Paris, France, 1939", "citations": [], "footnotes": [], "date": "1939-1948", "sortorder": 2}, {"description": "(Carroll Carstairs Gallery, New York, NY, September 16, 1948, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": [], "date": "1948", "sortorder": 3}, {"description": "Leonard C. Hanna, Jr. [1889-1958], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1948-1958", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Madame Monet\u2019s red cape draws the viewer\u2019s attention beyond the glass of the French doors capturing her glance, a brief moment frozen in time. This painting was very special to Monet and he kept it with him for his entire life.", "early_education_description": null, "artlens_description": null, "description": "This painting depicts Monet's first wife, Camille, outside on a snowy day passing by the French doors of their home at Argenteuil. Her face is rendered in a radically bold Impressionist technique of mere daubs of paint quickly applied, just as the snow and trees are defined by broad, broken strokes of pure white and green.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q50772913"], "internet_archive": ["https://archive.org/details/clevelandart-1958.39-the-red-kerchief"]}, "citations": [{"citation": "Becker, Christoph. <em>Monet's Garden</em>. Ostfildern-Ruit, Germany: Hatje Cantz, 2004.", "page_number": "Reproduced: p. 25, fig. 9", "url": null}, {"citation": "Geffroy, Gustave. <em>Claude Monet, sa vie, son \u0153uvre</em>. Paris, FR: G. Cre\u0300s et cie, 1922.", "page_number": "Reproduced: opp. p. 140", "url": null}, {"citation": "Trevise, Duc de. \"Le Pelerinage de Giverny.\" <em>Revue de l'Art Ancien et Moderne </em>51 (January-May 1927: 42-50.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "Fels, Florent. \"Claude Monet or the Fading Luminary.\" <em>Formes; An International Art Review </em>15 (May 1931<em>)</em>: 74b-75.", "page_number": "Reproduced: p. 74c", "url": null}, {"citation": "Malingue, Maurice. <em>Claude Monet.</em> Monaco: Les Documents d'art, 1943.", "page_number": "Reproduced: p. 63", "url": null}, {"citation": "Rewald, John. <em>The History of Impressionism</em>. New York, NY: Museum of Modern Art, 1946.", "page_number": "Reproduced: p. 207", "url": null}, {"citation": "Reuterswa\u0308rd, Oscar. <em>Monet: En konstna\u0308rshistorik.</em> Stockholm: Bonniers, 1948.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "<em>Catalogue de reproductions en couleurs de la peinture de 1860 a\u0300 ... = Catalogue of colour reproductions of painting from 1860 to ... = Cata\u0301logo de reproducciones en color de la pintura de 1860 a</em>. Paris, France: Unesco, 1949.", "page_number": "Reproduced: p. 234", "url": null}, {"citation": "Besson, George. <em>Claude Monet (1840-1926)</em>. Paris: Braun, 1949.", "page_number": "Reproduced: pl. 28", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 75", "url": null}, {"citation": "Cleveland Museum of Art.<em> In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 23", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art XLVI </em>no.6<em>.</em> (June, 1959): 123.", "page_number": "Reproduced: p. 123", "url": null}, {"citation": "Museum of Modern Art (New York, N.Y.), and William Chapin Seitz. <em>Claude Monet: Seasons and Moments</em>. New York. Museum of Modern Art. Catalogues. 1959-1963. 1960.", "page_number": "Mentioned: cat. no. 13", "url": null}, {"citation": "Gimpel, Rene\u0301. <em>Journal d'un Collectionneur, Marchand de Tableaux</em>. [Paris]: Calmann-Le\u0301vy, 1963.", "page_number": "Reproduced: opp. p 78", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1966/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1969/page/n198"}, {"citation": "Arnason, H. H. \"Motherwell: The Window and the Wall.\" <em>ARTnews</em> 68 (Summer 1969): 48-50.", "page_number": "Reproduced: p. 50; mentioned: p. 48", "url": null}, {"citation": "Isaacson, Joel. <em>Monet: Le Dejeuner Sur L'herbe</em>. London, United Kingdom: Allen Lane the Penguin Press, 1972.", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Bortolatto, Luigina Rossi. <em>L'opera Completa Di Claude Monet, 1870-1889</em>. Milano: Rizzoli, 1972.", "page_number": "Reproduced: no. 77", "url": null}, {"citation": "Tsuji, Kunio, Yoshiaki Inui, and Shu\u0304ji Takashina. <em>Mone to insho\u0304ha = Monet et l'impressionnisme.</em> To\u0304kyo\u0304: Chu\u0304o\u0304 Ko\u0304ronsha, 1972.", "page_number": "Reproduced: no. 33", "url": null}, {"citation": "Champa, Kermit Swiler. <em>Studies in Early Impressionism</em>. New Haven, CT: Yale University Press, 1973.", "page_number": "Reproduced: p.31 fig. 40", "url": null}, {"citation": "Rewald, John. <em>The History of Impressionism.</em> New York, NY: Museum of Modern Art, 1973.", "page_number": "Reproduced: p. 251", "url": null}, {"citation": "Nordenfalk, Carl Adam Johan. \"Outdoors-Indoors: A 2000-Year-Old Space Problem in Western Art.\" In <em>Proceedings of the American Philosophical Society</em> 117, no. 4 (1973): 253-54, fig. 31.", "page_number": "Reproduced: p. 253-254, fig. 31", "url": null}, {"citation": "Wildenstein, Daniel. <em>Claude Monet: biographie et catalogue raisonne\u0301</em>. Lausanne, Switzerland: La Bibliothe\u0300que des arts, 1974.", "page_number": "Reproduced: p. 257", "url": null}, {"citation": "Monet, Claude, and Susan Wise. <em>Paintings by Monet: [Exhibition] March 15 Through May 11, 1975, the Art Institute of Chicago</em>. Chicago: Art Institute of Chicago, 1975.", "page_number": "Mentioned and Reproduced: cat. no. 26, p 24", "url": null}, {"citation": "House, John. <em>Monet</em>. Oxford, United Kingdom: Phaidon; New York, NY, Dutton, 1977.", "page_number": "Reproduced: no. 18", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "House, John. \"The New Monet Catalogue.\" <em>The Burlington Magazine</em> 120, no. 907 (1978): 678-39.", "page_number": "Mentioned: p. 680", "url": null}, {"citation": "\"Hommage a Monet.\" <em>Le Petit Journal des Grandes Expositions</em> 88 (1980): fig. 25.", "page_number": "Reproduced: fig. 25", "url": null}, {"citation": "Monet, Claude, He\u0301le\u0300ne Adhe\u0301mar, Anne Distel, and Sylvie Patin. <em>Hommage a\u0300 Claude Monet (1840-1926): 1980, anne\u0301e du patrimoine, Grand Palais, 8 fe\u0301vrier - 5 mai 1980</em>. Paris: E\u0301ditions de la Re\u0301union des muse\u0301e nationaux, Ministe\u0300re de la culture et de la communication, 1980.", "page_number": "Mentioned and Reproduced: cat. no. 25", "url": null}, {"citation": "\"Grand Palais, Paris; Exposition.\" <em>L'\u0152il </em>297 (April, 1980): 74.", "page_number": "Reproduced: p. 74", "url": null}, {"citation": "House, John. <em>Monet</em>. Oxford, United Kingdom: Phaidon, NY, 1981.", "page_number": "Reproduced: no. 8", "url": null}, {"citation": "Borowitz, Helen O. \"The Rembrandt and Monet of Marcel Proust.\" <em>The Bulletin of the Cleveland Museum of Art LXX, </em>no. 2. (February, 1983):90.", "page_number": "Reproduced: p. 90, fig. 16", "url": null}, {"citation": "Keller, Horst. <em>Claude Monet</em>. Mu\u0308nchen, Germany: Bruckmann, 1985.", "page_number": "Reproduced: plate 44", "url": null}, {"citation": "Kijima, Shunsuke, Kimio Nakayama, Yoshiaki To\u0304no, Makoto O\u0304oka, and Katsunori Miyauchi. <em>Mone = Monet.</em> To\u0304kyo\u0304, Japan: Shu\u0304eisha, 1985.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Stuckey. Charles F. <em>Monet: A Retrospective</em>. New York, NY: 1985.", "page_number": "Reproduced: p. 75, plate 27", "url": null}, {"citation": "Taillandier, Yvon. <em>Monet.</em> New York, NY: Crown, 1987.", "page_number": "Reproduced: p. 40", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science</em>, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and Reproduced: p. 95, cat. no. 2", "url": null}, {"citation": "Sagner-Du\u0308chting, <em>Karin. Claude Monet 1840-1926: ein Fest fu\u0308r die Augen.</em> Ko\u0308ln, Germany: Benedikt Taschen Verlag, 1990.", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West.</em> New York, NY: Rizzoli International, 1992.", "page_number": "Reproduced: p. 7-8", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 158", "url": null}, {"citation": "Taylor, John Russell, <em>Claude Monet: Impressions of France : from Le Havre to Giverny.</em> London, United Kingdom: Collins &amp; Brown, 1995.", "page_number": "Reproduced: p. 70", "url": null}, {"citation": "Tucker, Paul Hayes. <em>Claude Monet: Life and Art.</em> New Haven, CT: Yale University Press, 1995.", "page_number": "Mentioned: p. 66-68, Reproduced: pl. 75", "url": null}, {"citation": "Stuckey, Charles F., Claude Monet, and Sophia Shaw. <em>Claude Monet: 1840-1926</em>. New York: Thames and Hudson, 1995.", "page_number": "Mentioned and Reproduced cat. no. 24, p. 244", "url": null}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media</em>. Dubuque, Iowa: Kendall/Hunt, 1996.", "page_number": "Reproduced: p. 165, fig. 7.3", "url": null}, {"citation": "Wildenstein, Daniel, <em>Monet</em>. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": "Reproduced: p. 90, vol. 1; p. 257, vol. 2", "url": null}, {"citation": "Weiss, Susanne. <em>Claude Monet: ein distanzierter Blick auf Stadt und Land</em> : <em>Werke 1859-1889</em>. Berlin, Germany: Reimer, 1997.", "page_number": "Reproduced: p. 55, fig. 15", "url": null}, {"citation": "Moffett, Charles S. <em>Impressionists in Winter: Effets De Neige</em>. Washington, D.C.: Phillips Collection in collaboration with Philip Wilson Publishers, 1998.", "page_number": "Reproduced: cat. no. 6", "url": null}, {"citation": "Sallis, John. <em>Shades--of Painting at the Limit</em>. Bloomington, IN: Indiana University Press, 1998.", "page_number": "Reproduced: p. 52, fig. 4", "url": null}, {"citation": "Pittman, Dianne W. <em>Bazille: Purity, Pose, and Painting in the 1860s</em>. University Park, PA: Pennsylvania State University, 1998.", "page_number": "Reproduced: p. 207, p. 209, fig. 131", "url": null}, {"citation": "D Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century.</em> Cleveland, OH: Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 155", "url": null}, {"citation": "Museum of Fine Arts, Boston. Mone, Runowa\u0304ru to insho\u0304ha no fu\u0304kei: kaikan kinen dai ikkai kikakuten = <em>Monet, Renoir, and the impressionist landscape.</em> [Japan]: Nagoya Bosuton Bijutsukan, 1999.", "page_number": "Reproduced: p. 28, fig. 28", "url": null}, {"citation": "Johnston, Sona, Susan Bollendorf, and John House. <em>Faces of Impressionism: Portraits from American Collections</em>. Baltimore, Md: Baltimore Museum of Art in association with Rizzoli International, 1999.", "page_number": "Reproduced: p. 126-127", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet, or, The Triumph of Impressionism.</em> Ko\u0308ln, Germany: Taschen, 1999.", "page_number": "Reproduced: p. 90, cat. no. 257", "url": null}, {"citation": "Johnston, Sona.<em> Faces of Impressionism: Portraits from American Collections</em>. New York, NY : Rizzoli, 1999.", "page_number": "Reproduced: p. 127, cat. no. 44", "url": null}, {"citation": "Knight, Lynne. <em>Snow Effects: Poems on Impressionists in Winter</em>. Concord, CA: Small Poetry Press, 2000.", "page_number": "Reproduced: p. 24", "url": null}, {"citation": "Jiminez, Jill Berk, and Joanna Banham. <em>Dictionary of Artists' Models.</em> London, United Kingdom: Fitzroy Dearborn, 2001.", "page_number": "Reproduced: p. 167", "url": null}, {"citation": "<em>Norio Shimada, and Keiko Sakagami. Kuro\u0304do Mone meigashu\u0304: hikari to kaze no kiseki</em>. To\u0304kyo\u0304, Japan: Nihon Bijutsu Kyo\u0304iku Senta\u0304, 2001.", "page_number": "Reproduced: p. 123", "url": null}, {"citation": "Clancy, John I. <em>Impressionism: Historical Overview and Bibliography.</em> New York, NY: Nova Science Publishers, 2003.", "page_number": "Reproduced: p. 20", "url": null}, {"citation": "Burgess, Margaret, \"The Colorful Mr. Hanna\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 09, November 2005", "page_number": "Mentioned & reproduced: p.7", "url": "https://archive.org/details/CMAMM2005-09/page/6/"}, {"citation": "Borzello, Frances. <em>At Home: The Domestic Interior in Art.</em> London, United Kingdom: Thames &amp; Hudson, 2006.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Lambert, Ste\u0301phane.<em> L'adieu au paysage: les nymphe\u0301as de Claude Monet</em>. Paris, France: Diffe\u0301rence, 2008.", "page_number": "Reproduced: fig. 12", "url": null}, {"citation": "Baillio, Joseph. <em>Claude Monet, 1840-1926</em>:<em> Paris, Galeries Nationales, Grand Palais, September 22, 2010-January 24, 2011</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2010.", "page_number": "Reproduced: p. 103, Mentioned: p. 254-255", "url": null}, {"citation": "Braschi, Cecilia. \"1840-1926. Monet, une Vie Dediee a la Peinture.\" <em>Dossier de l'Art </em>177 (September 2010): 2-23.", "page_number": "Reproduced: p. 21", "url": null}, {"citation": "Marchesseau, Daniel. <em>Monet au Muse\u0301e Marmottan et dans les collections suisses ; Estampes japonaises, Fondation Claude Monet, Giverny. </em>Martigny, Switzerland: Fondation Pierre Gianadda, 2011.", "page_number": "Reproduced: p. 201, fig. 24", "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, London, United Kingdom, Scala Publishers Ltd., 2012.", "page_number": "Reproduced: p. 262-3", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 289", "url": ""}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 20", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Patin, Sylvie. <em>Monet's Private Picture Gallery at Giverny: Paintings by Monet and His Friends.</em> Montreuil, France: Gourcuff Gradenigo; Giverny: \u00c9ditions Claude Monet Giverny: Fondation Claude Monet, 2016.", "page_number": "Reproduced: P. 12, 14, 16-17, 23", "url": null}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: P. 22", "url": ""}, {"citation": "Cachorro Fernandez, Emilio. \"Habitaciones con Vistas. Pulsion Escopica A Traves de la Ventana\". Archivo espan\u0303ol de arte 88, issue 350 (April-June 2015): 157-172.", "page_number": "Reproduced: p. 170, fig. 6", "url": null}, {"citation": "Shackelford, George T. M., et. al. <em>Monet: The Early Years.</em> Fort Worth, TX: Kimball Art Museum, 2016.", "page_number": "Mention: p. 107; 202 Reproduced: cover; p. 106, cat. 12", "url": null}, {"citation": "Bortolatto, Luigina Rossi. <em>Tout l'\u0153uvre peint de Monet, 1870-1889.</em> Paris: Flammarion, 1981.", "page_number": "Reproduced: P. 93, fig. 78", "url": null}, {"citation": "Widaur, Heinz. \"From Pleinairism to Impressionism.\" In <em>Claude Monet: A Floating World.</em> Heinz Widauer and Dieter Buchhart, eds., 55-79. Vienna: The Albertina Museum, 2018.", "page_number": "Mentioned and reproduced: p. 76-79, cat. 24", "url": null}, {"citation": "Michael, Cora. \"Gauguin in the the Buckeye and Hoosier States: Portrait of Teuraheimata and its Midwestern Collectors.\" In <em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery, </em>11-19. New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 14", "url": ""}, {"citation": "Shackelford, George T. M. <em>Monet: the Late Years.</em> Fort Worth, Texas: Kimbell Art Museum; San Francisco: Fine Arts Museums of San Francisco, New Haven; London: Distributed by Yale University Press, 2019.", "page_number": "Reproduced: P. 15, 29", "url": null}, {"citation": "Rubin, James Henry. Monet. 2020, 54.", "page_number": "Mentioned and reproduced; pp. 53-54, fig. 37.", "url": ""}, {"citation": "Dombrowski, Andre\u0301. <em>Monet's Minutes: Impressionism and the Industrialization of Time. </em>New Haven; London: Yale University Press, 2023.", "page_number": "Mentioned and reproduced: p. 21-22, fig. 11", "url": ""}, {"citation": "Dombrowski, Andre. \"Reflexions sur le Manieres de 'Saisir' et de 'Fixer' une Impression en 1874.\" <em>Revue de L'Art </em>223 (January 2024): 32-41.", "page_number": "Mentioned and reproduced: p. 37-38, fig. 3, Cover", "url": ""}, {"citation": "Siegel, Harmon. <em>Painting with Monet</em>. Princeton, New Jersey: Princeton University Press, 2024.", "page_number": "Mentioned and reproduced: p. 207-209, figs. 7.5, 7.6, and 7.7", "url": ""}, {"citation": "Wullschla\u0308ger, Jackie. <em>Monet: The Restless Vision. </em>New York: Alfred A. Knopf, 2024.", "page_number": "Reproduced: p. 106, plate 12; Mentioned: p. 149", "url": ""}, {"citation": "Man\u0153uvre, Laurent. \u201c1870-1888: Une Nouvelle Peinture.\u201d <em>Dossier de l'art</em>, n. 336 (April/May 2026): 22-29.", "page_number": "Reproduced: p. 26", "url": ""}], "url": "https://clevelandart.org/art/1958.39", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_web.jpg", "width": "723", "height": "900", "filesize": "242663", "filename": "1958.39_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_print.jpg", "width": "2732", "height": "3400", "filesize": "3767988", "filename": "1958.39_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_full.tif", "width": "11652", "height": "14500", "filesize": "506893484", "filename": "1958.39_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt0_web.jpg", "width": "720", "height": "893", "filesize": "471772"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt0_print.jpg", "width": "2742", "height": "3400", "filesize": "6551534"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt0_full.tif", "width": "4033", "height": "5000", "filesize": "60526808"}, "date_created": "2006-04-11T15:09:16", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt1_web.jpg", "width": "717", "height": "893", "filesize": "459830"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt1_print.jpg", "width": "2731", "height": "3400", "filesize": "6598773"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt1_full.tif", "width": "4016", "height": "5000", "filesize": "60271236"}, "date_created": "2006-04-10T19:40:23", "annotation": ""}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135382, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "c. 1868\u201373", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["La Capeline Rouge-Madame Monet"], "is_highlight": true, "updated_at": "2026-10-20 11:25:18.817000"}, {"id": 136510, "accession_number": "1960.81", "share_license_status": "CC0", "tombstone": "Water Lilies (Agapanthus), c. 1915\u201326. Claude Monet (French, 1840\u20131926). Oil on canvas; framed: 204.9 x 430.3 x 6 cm (80 11/16 x 169 7/16 x 2 3/8 in.); unframed: 201.3 x 425.6 cm (79 1/4 x 167 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund and an anonymous gift, 1960.81", "current_location": "222 Impressionism & Post-Impressionism", "title": "Water Lilies (Agapanthus)", "creation_date": "c. 1915\u201326", "creation_date_earliest": 1915, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["France, late 19th century-early 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 204.9 x 430.3 x 6 cm (80 11/16 x 169 7/16 x 2 3/8 in.); Unframed: 201.3 x 425.6 cm (79 1/4 x 167 9/16 in.)", "dimensions": {"framed": {"height": 2.049, "height_inch": 80, "height_inch_fraction": 0.6875, "width": 4.303, "width_inch": 169, "width_inch_fraction": 0.4375, "depth": 0.06, "depth_inch": 2, "depth_inch_fraction": 0.375}, "unframed": {"height": 2.013, "height_inch": 79, "height_inch_fraction": 0.25, "width": 4.256, "width_inch": 167, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Estate stamp lower left: Claude Monet\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 302015, "title": "Year in Review - Nineteen Hundred Sixty", "description": "<i>Year in Review - Nineteen Hundred Sixty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1960-January 1, 1961).", "opening_date": "1960-11-30T05:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 300904, "title": "Fifty Years of Modern Art", "description": "<i>Fifty Years of Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 15-July 31, 1966).", "opening_date": "1966-06-15T04:00:00"}, {"id": 301375, "title": "Color and Field, 1890 - 1970", "description": "<i>Color and Field, 1890 - 1970</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (September 15-November 1, 1970); Dayton Art Institute, Dayton, OH (November 20, 1970-January 10, 1971); The Cleveland Museum of Art, Cleveland, OH (February 3-March 14, 1971).", "opening_date": "1970-09-15T04:00:00"}, {"id": 343654, "title": "Monet's Years at Giverny: Beyond Impressionism", "description": "<i>Monet's Years at Giverny: Beyond Impressionism</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (April 22-July 9, 1978); Saint Louis Art Museum, St. Louis, MO (co-organizer) (August 1-October 8, 1978).", "opening_date": "1978-04-22T05:00:00"}, {"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (co-organizer) (April 5-June 15, 1979); The Cleveland Museum of Art, Cleveland, OH (September 18, 1979-February 17, 1980); Saint Louis Art Museum, St. Louis, MO (co-organizer) (April 1-September 1, 1980).", "opening_date": "1979-04-05T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 208590, "title": "Monet in Normandy", "description": "<i>Monet in Normandy</i>. The Cleveland Museum of Art, Cleveland, OH (February 18-May 28, 2007).", "opening_date": "2006-06-17T00:00:00"}, {"id": 214130, "title": "Monet's Water Lilies", "description": "<i>Monet's Water Lilies</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (April 9-August 7, 2011); Saint Louis Art Museum, St. Louis, MO (October 2, 2011-January 22, 2012).", "opening_date": "2011-04-09T00:00:00"}, {"id": 201332, "title": "Painting the Modern Garden: Monet to Matisse", "description": "<i>Painting the Modern Garden: Monet to Matisse</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 6, 2015-January 5, 2016); Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (January 30-April 20, 2016).", "opening_date": "2015-10-06T00:00:00"}, {"id": 438645, "title": "Monet / Mitchell", "description": "<i>Monet / Mitchell</i>. Fondation Louis Vuitton, Paris, France (organizer) (October 5, 2022-February 27, 2023).", "opening_date": "2022-10-05T04:00:00"}, {"id": 662787, "title": "Monet in Focus", "description": "<i>Monet in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (March 31-August 11, 2024).", "opening_date": "2023-10-28T04:00:00"}], "legacy": [{"description": "<em>Claude Monet.</em> City Art Museum of St. Louis, St. Louis, MO; Minneapolis Institute of Arts, Minneapolis, MN (1957).", "opening_date": "1957-01-01T00:00:00"}, {"description": "<em>Essence of Nations</em>. Valley House Gallery, Dallas, TX (November 1\u201314, 1959).", "opening_date": "1959-11-01T05:00:00Z"}]}, "provenance": [{"description": "Estate of the artist.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Michel Monet, Giverny, through 1950 (according to Connaissance des arts 1966).", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Katia Granoff, Paris. Bought from her by Knoedler & Co. (stock number a 6420), July 1956.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1960-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Water lilies were a recurring theme in Monet's work; he painted around 250 water lily compositions.", "early_education_description": null, "artlens_description": null, "description": "A skilled horticulturalist as well as an artist, Claude Monet spent the last 30 years of his life painting the private garden he designed and helped cultivate at his home in Giverny in northern France. The resultant canvases are notable for their varied motifs, formats, and sizes. Monumental in scale, this rendering of his water lily pond focuses on the momentary effects of sunlight as it both penetrates and reflects off its shimmering surface. By zeroing in on the water and omitting its horizon and surrounding banks, Monet infers a limitless expanse\u2014a perception amplified by the painting\u2019s vast horizontal format that fills the viewer\u2019s field of vision.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465880"], "internet_archive": ["https://archive.org/details/clevelandart-1960.81-water-lilies-agapant"]}, "citations": [{"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Reproduced: cat. no. 93", "url": null}, {"citation": "Sloane, J. C. \"The Art of Impressionism: From Romanticism to Avant-Garde.\" In <em>Romantic Art</em>. Hilton Kramer, ed. New York: Art Digest, Inc, 1958.", "page_number": "Reproduced: p. 129", "url": null}, {"citation": "Spaeth, Eloise. <em>American Art Museums and Galleries: An Introduction to Looking</em>. New York, NY: Harper &amp; Brothers, 1960.", "page_number": "Reproduced: p. 20", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art XLVII</em>. Cleveland: [The Museum] 1960.", "page_number": "Mentioned: p. 253; No. 66", "url": null}, {"citation": "Francis, Henry. \"Claude Monet-- Water Lilies.\" <em>The Bulletin of the Cleveland Museum of Art </em>47 (October 1960): 192-198.", "page_number": "Reproduced: 192-193", "url": null}, {"citation": "Henning, E. B. \"Cleveland Museum of Art: From Turner to Gaston.\" <em>Apollo: A Journal of the Arts </em>78 (December 1963): 481-488.", "page_number": "Reproduced: p. 484-485", "url": null}, {"citation": "Forge, Andrew. <em>French Impressionists. </em>London United Kingdom: British Broadcasting Corporation, 1966.", "page_number": "Reproduced: fig. 38", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1966/page/n221"}, {"citation": "\"Waterlilies.\" <em>Art in America: An Illustrated Magazine </em>54 (March 1966): 32.", "page_number": "Reproduced: p. 32", "url": null}, {"citation": "Alsop, Joseph. \"Les Chefs-d'oeuvre de Premiere Importance du Second Musee des Etats-Unis.\" <em>Connaissance des Arts</em> 172 (June 1966): 54-63.", "page_number": "Reproduced: p. 57, 60", "url": null}, {"citation": "Lee, Sherman E. \"The Forest and the Trees and Chinese Painting.\" <em>National Palace Museum Quarterly </em>\u6545\u5bae\u9031\u520a 1, no. 2 (October 1966): 1\u201314.", "page_number": "Reproduced: Pl. 1-A", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1969/page/n221"}, {"citation": "Henning, Edward B. \"Color and Field.\" <em>Art International </em>15 (May 1971): 46-50.", "page_number": "Reproduced: p. 46", "url": null}, {"citation": "Rouart, Denis, Jean Dominique Rey, Robert Maillard. <em>Monet, nymphe\u0301as; ou</em>, <em>Les miroirs du temps</em>. Paris, France: F. Hazan, 1972.", "page_number": "Reproduced: p. 177", "url": null}, {"citation": "Wildenstein, Daniel. Claude Monet: Biographie et Catalogue Raisonne\u0301. Lausanne: La Bibliothe\u0300que des arts, 1974.", "page_number": "Reproduced and mentioned: vol. 4, p. 316-322, no. 1975", "url": null}, {"citation": "House, John. <em>Monet</em>. London, United Kingdom: Oxford, 1977.", "page_number": "Reproduced: pl. 47, Mentioned: p. 12-13", "url": null}, {"citation": "Bell, Clive. <em>The French Impressionists</em>. London, United Kingdom: Phaidon Press, 1978.", "page_number": "Reproduced: Fig. 46", "url": null}, {"citation": "Isaacson, Joel. <em>Claude Monet, Observation and Reflection</em>. Oxford, United Kingdom: Phaidon, 1978.", "page_number": "Reproduced: p. 176", "url": null}, {"citation": "Moffett, Charles S. <em>Monet's Water Lilies</em>. Mount Vernon, NY: Artist's Ltd. Edition, 1978.", "page_number": "Reproduced: Pl 6", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 220", "url": "https://archive.org/details/CMAHandbook1978/page/n240"}, {"citation": "Monet, Claude. <em>Monet's Years at Giverny: Beyond Impressionism</em>. New York: Metropolitan Museum of Art, 1978.", "page_number": "Referenced: cat. no. 76, Reproduced", "url": null}, {"citation": "Gordon, Robert, and Charles F. Stuckey. \"Blossoms and Blunders: Monet and the State.\" <em>Art in America: An Illustrated Magazine </em>67 (January 1979): 102-117.", "page_number": "Reproduced: p. 112, fig. 12", "url": null}, {"citation": "Stuckey, Charles F. \"Blossoms and Blunders: Monet and the State; II.\" <em>Art in America</em> 67 (May 1979): 109-125.", "page_number": "Reproduced: p. 125", "url": null}, {"citation": "Kelder, Diane. <em>The Great Book of French Impressionism</em>. New York, NY: Abbeville Press, 1980.", "page_number": "Reproduced: p. 221-222", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art LXVII</em>. Cleveland: [The Museum] 1980.", "page_number": "Reproduced: p. 187; Mentioned: p. 189", "url": null}, {"citation": "Failing, Patricia. \"The Case of the Dismembered Masterpieces.\" <em>ARTnews </em>79 (September 1980): 66-78.", "page_number": "Reproduced: p. 76-77", "url": null}, {"citation": "House, John. <em>Monet</em>. Oxford, United Kingdom: Phaidon, 1981.", "page_number": "Reproduced: No. 47", "url": null}, {"citation": "Cowart, Jack. \"Impressionist and Post-impressionist Paintings.\" <em>Bulletin (St. Louis Art Museum)</em> 16, no. 2 (1982): 1-35.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Borowitz, Helen O. \"The Rembrandt and Monet of Marcel Proust.\" <em>The Bulletin of the Cleveland Museum of Art LXX, </em>no. 2 (February, 1983):73-95.", "page_number": "Reproduced: p. 88, fig. 14", "url": null}, {"citation": "Peters, Mike, and Marilyn Jarvis. <em>The World of Cartooning: How Caricatures Develop</em>. Dayton, OH: Landfall Press, 1985.", "page_number": "Reproduced: p. 16", "url": null}, {"citation": "Larson, Dean M. <em>Studying with the Masters: Lessons from Rubens, Vela\u0301zquez, Turner, Degas, Monet, Sargent, Matisse</em>. New York, NY: Watson-Guptill Publications, 1986.", "page_number": "Reproduced: p. 86", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960</em>. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 97, no. 4", "url": ""}, {"citation": "Stuckey, Charles F. <em>Waterlilies</em>. New York, NY: H.L. Levin Associates, 1988.", "page_number": "Reproduced: p. 83", "url": null}, {"citation": "Thomson, Belinda, and Michael Howard. <em>Impressionism</em>. London, United Kingdom: Bison Books, 1988.", "page_number": "Reproduced: p. 124-125", "url": null}, {"citation": "Sagner-Du\u0308chting, Karin. <em>Claude Monet, 1840-1926: ein Fest fu\u0308r die Augen</em>. Ko\u0308ln,Germany: Benedikt Taschen Verlag, 1990.", "page_number": "Reproduced: p. 207", "url": null}, {"citation": "Strickland, Carol, and John Boswell. <em>The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern</em>. Kansas City: Andrews and McMeel, 1992.", "page_number": "Reproduced: p. 103", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West.</em> New York, NY: Rizzoli International, 1992.", "page_number": "Reproduced: p. 166-167", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogu</em>e. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 159", "url": null}, {"citation": "\"1993 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (1994): 143-218.", "page_number": "Mentioned: p. 177", "url": "https://www.jstor.org/stable/25161457"}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media.</em> Dubuque, IA: Kendall/Hunt, 1996.", "page_number": "Reproduced: p. 169, fig. 7,8", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet</em>. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": "Reproduced: vol. 1, p. 436", "url": null}, {"citation": "Sagner-Duchting, Karin. <em>Claude Monet, 1840-1926: A Feast for the Eyes</em>. Ko\u0308ln, Germany: Benedikt Taschen, 1998.", "page_number": "Reporduced: p. 119", "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del impresionismo</em>. Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Reproduced: p. 59, fig. 14", "url": null}, {"citation": "D' Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century</em>. Cleveland, OH:The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 159", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet, or, The Triumph of Impressionism</em>. Ko\u0308ln, Germany: Taschen,1999.", "page_number": "Reproduced: p. 436-437.", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 56-57, no. 58", "url": null}, {"citation": "Lemonedes, Heather, Lynn Federle Orr, and David H. Steel. <em>Monet in Normandy</em>. New York, NY: Rizzoli, 2006.", "page_number": "Reproduced: p. 178", "url": null}, {"citation": "Lemonedes, Heather, \"FILL THIS\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 02, February 2007", "page_number": "Mentioned & reproduced: p. 5", "url": "https://archive.org/details/CMAMM2007-02/page/n3"}, {"citation": "Rey, Jean Dominique, and Denis Rouart. <em>Monet, Water Lilies: The Complete</em> <em>Series</em>. Paris, France: Flammarion, 2008.", "page_number": "Reproduced: p. 145", "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art.</em> Cleveland, OH: London, United Kingdom: Scala Books, 2012.", "page_number": "Reproduced: p. 302-303", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 298", "url": ""}, {"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, and Heather Lemonedes. <em>Painting the Modern Garden: Monet to Matisse</em>. London, United Kingdom : Royal Academy of Arts, 2015.", "page_number": "Reproduced: P. 290", "url": null}, {"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, Heather Lemonedes, and Lucy I. Zimmerman.<em> Painting the Modern Garden: Monet to Matisse</em>. London: Royal Academy of Arts, 2015.", "page_number": "290, cat no. 139", "url": null}, {"citation": "Robinson, William. \u201cEasels in Eden: Renowned garden historian Eric Haskell is the keynote speaker at the opening for <em>Painting the Modern Garden: Monet to </em>Matisse.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 4 (July/August): 10-11.", "page_number": "Reproduced: p. 10; Mentioned: p. 11", "url": "https://archive.org/details/CMAMM2015-04"}, {"citation": "The Burlington Magazine. \"Exhibitions: Paintiing in the Modern Garden.\" <em>The Burlington Magazine </em>158, no. 1357 (April 2016): 300-301.<em><br></em>", "page_number": "Reproduced: p. 301", "url": null}, {"citation": "Adams, Henry. \"The Invisible Man: William Robinson.\" <em>CAN Journal </em>(Spring 2017): 80-83.", "page_number": "Reproduced: p. 83", "url": ""}, {"citation": "Amiot-Saulnier, Emmanuelle. \"Le Jardin de Monet a Matisse.\" <em>L'Estampille, l'objet d'art</em> 521, (Mar. 2016): 28-35.", "page_number": "Reproduced: p. 30", "url": null}, {"citation": "Kelly, Simon. \"\"My Four Best Series\": Monet's Panorama at the Hotel Biron.\" In <em>Monet: the Late Years.</em> Shackelford, George T. M., ed., 46-61. Fort Worth, Texas: Kimbell Art Museum; San Francisco: Fine Arts Museums of San Francisco, New Haven; London: Distributed by Yale University Press, 2019.", "page_number": "Reproduced: P. 48-49,50, 59", "url": null}, {"citation": "Shackelford, George T. M. <em>Monet: the Late Years. </em>Fort Worth, Texas: Kimbell Art Museum; San Francisco: Fine Arts Museums of San Francisco, New Haven; London: Distributed by Yale University Press, 2019.", "page_number": "Reproduced: P. 159", "url": null}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 81", "url": null}, {"citation": "Goldin, Marco. <em>Il Giardino e la Luna: Arte dell'Ottocento dal Romanticismo all'Impressionismo. </em>Milano: La nave di Teseo, 2021.", "page_number": "Reproduced: P. 508-509", "url": ""}, {"citation": "Page\u0301, Suzanne, Angeline Scherf, and Marianne Mathieu. <em>Claude Monet, Joan Mitchell.</em> Paris: Fondation Louis Vuitton; [Paris]: Muse\u0301e Marmottan Monet, Acade\u0301mie des beaux-arts; Vanves: Hazan, 2022.", "page_number": "Reproduced: Cat. no. 50", "url": ""}, {"citation": "Kelly, Simon. \"A Dialogue with Monet: Mitchell's Years in Vetheuil.\" In <em>Monet/Mitchell: Painting the French Landscape, </em>edited by Simon Kelly, 13-68. St. Louis, Missouri: Saint Louis Art Museum; Munich, Germany: Hirmer Verlag GmbH, 2023.", "page_number": "Mentioned: p. 27; reproduced: p. 31, fig. 12", "url": ""}], "url": "https://clevelandart.org/art/1960.81", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_web.jpg", "width": "900", "height": "419", "filesize": "134866", "filename": "1960.81_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_print.jpg", "width": "3400", "height": "1581", "filesize": "1728905", "filename": "1960.81_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_full.tif", "width": "6388", "height": "2970", "filesize": "56943340", "filename": "1960.81_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt0_web.jpg", "width": "900", "height": "444", "filesize": "135050"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt0_print.jpg", "width": "3400", "height": "1677", "filesize": "1763259"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt0_full.tif", "width": "15356", "height": "7576", "filesize": "349039268"}, "date_created": "2015-05-04T11:47:33", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt1_web.jpg", "width": "900", "height": "687", "filesize": "257258"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt1_print.jpg", "width": "3400", "height": "2594", "filesize": "3803003"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt1_full.tif", "width": "6477", "height": "4941", "filesize": "96035612"}, "date_created": "2011-02-28T15:52:16", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt2_web.jpg", "width": "900", "height": "687", "filesize": "329605"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt2_print.jpg", "width": "3400", "height": "2594", "filesize": "8452393"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt2_full.tif", "width": "6477", "height": "4941", "filesize": "96038376"}, "date_created": "2011-02-28T15:52:16", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt3_web.jpg", "width": "1263", "height": "593", "filesize": "574711"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt3_print.jpg", "width": "3400", "height": "1596", "filesize": "4366487"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt3_full.tif", "width": "6172", "height": "2897", "filesize": "53671228"}, "date_created": "2009-07-01T15:14:35", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt4_web.jpg", "width": "1263", "height": "608", "filesize": "639185"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt4_print.jpg", "width": "3400", "height": "1638", "filesize": "4885519"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt4_full.tif", "width": "6227", "height": "3000", "filesize": "56055796"}, "date_created": "2004-09-21T17:46:45", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt5_web.jpg", "width": "900", "height": "434", "filesize": "170216"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt5_print.jpg", "width": "3400", "height": "1638", "filesize": "4771145"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt5_full.tif", "width": "6227", "height": "3000", "filesize": "56067180"}, "annotation": ""}], "creditline": "John L. Severance Fund and an anonymous gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 136510, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-04-25T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 1915\u201326", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-10-20 11:25:18.829000"}, {"id": 130391, "accession_number": "1953.155", "share_license_status": "CC0", "tombstone": "Spring Flowers, 1864. Claude Monet (French, 1840\u20131926). Oil on canvas; framed: 144.5 x 117.2 x 12.1 cm (56 7/8 x 46 1/8 x 4 3/4 in.); unframed: 116.8 x 90.5 cm (46 x 35 5/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1953.155", "current_location": "222 Impressionism & Post-Impressionism", "title": "Spring Flowers", "creation_date": "1864", "creation_date_earliest": 1864, "creation_date_latest": 1864, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 144.5 x 117.2 x 12.1 cm (56 7/8 x 46 1/8 x 4 3/4 in.); Unframed: 116.8 x 90.5 cm (46 x 35 5/8 in.)", "dimensions": {"framed": {"height": 1.445, "height_inch": 56, "height_inch_fraction": 0.875, "width": 1.172, "width_inch": 46, "width_inch_fraction": 0.125, "depth": 0.121, "depth_inch": 4, "depth_inch_fraction": 0.75}, "unframed": {"height": 1.168, "height_inch": 46, "height_inch_fraction": 0.0, "width": 0.905, "width_inch": 35, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper right corner: Monet 64\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338512, "title": "Two Sides of the Medal: French Painting from G\u00e9r\u00f4me to Gauguin", "description": "<i>Two Sides of the Medal: French Painting from G\u00e9r\u00f4me to Gauguin</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (September 28-November 6, 1954).", "opening_date": "1954-09-28T05:00:00"}, {"id": 300822, "title": "Horticulture Motifs in Art", "description": "<i>Horticulture Motifs in Art</i>. The Cleveland Museum of Art, Cleveland, OH (March 9-April 24, 1955).", "opening_date": "1955-03-09T05:00:00"}, {"id": 338130, "title": "Claude Monet: a loan exhibition", "description": "<i>Claude Monet: a loan exhibition</i>. Saint Louis Art Museum (organizer) (September 25-October 22, 1957); Minneapolis Institute of Art (November 1-December 1, 1957).", "opening_date": "1957-09-25T04:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 338825, "title": "A World of Flowers", "description": "<i>A World of Flowers</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 1-June 9, 1963).", "opening_date": "1963-05-01T04:00:00"}, {"id": 520190, "title": "A World of Flowers", "description": "<i>A World of Flowers</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 2-June 9, 1963).", "opening_date": "1963-05-02T04:00:00"}, {"id": 338832, "title": "Paintings by Monet", "description": "<i>Paintings by Monet</i>. The Art Institute of Chicago, Chicago, IL (organizer) (March 15-May 11, 1975).", "opening_date": "1975-03-15T04:00:00"}, {"id": 338409, "title": "L'Art en France Sours Le Second Empire (Art in France Under the Second Empire)", "description": "<i>L'Art en France Sours Le Second Empire (Art in France Under the Second Empire)</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (October 1-November 26, 1978); The Detroit Institute of Arts, Detroit, MI (January 28-March 18, 1979); Galeries Nationales du Grand Palais, 75008 Paris, France (May 11-August 13, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 338402, "title": "Les Origines de l'Impressionnisme", "description": "<i>Les Origines de l'Impressionnisme</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (April 19-August 8, 1994); The Metropolitan Museum of Art, New York, NY (September 19, 1994-January 8, 1995).", "opening_date": "1994-04-19T04:00:00"}, {"id": 213916, "title": "Impressionist and Post-Impressionist Still Life Painting", "description": "<i>Impressionist and Post-Impressionist Still Life Painting</i>. The Phillips Collection, Washington, DC (organizer) (September 22, 2001-January 13, 2002); Museum of Fine Arts, Boston, Boston, MA (February 17-June 9, 2002).", "opening_date": "2001-09-22T00:00:00"}, {"id": 227545, "title": "Monet's Garden", "description": "<i>Monet's Garden</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (October 29, 2004-March 13, 2005).", "opening_date": "2004-10-29T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 201332, "title": "Painting the Modern Garden: Monet to Matisse", "description": "<i>Painting the Modern Garden: Monet to Matisse</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 6, 2015-January 5, 2016); Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (January 30-April 20, 2016).", "opening_date": "2015-10-06T00:00:00"}, {"id": 220692, "title": "Fr\u00e9d\u00e9ric Bazille and the Birth of Impressionism", "description": "<i>Fr\u00e9d\u00e9ric Bazille and the Birth of Impressionism</i>. Mus\u00e9e Fabre, Montpellier, France (June 25-October 16, 2016); Mus\u00e9e d'Orsay, Paris, France (organizer) (November 14, 2016-February 26, 2017); National Gallery of Art, Landover, MD (April 9-July 9, 2017).", "opening_date": "2016-06-25T00:00:00"}, {"id": 380542, "title": "At the Source of Monet's Water Lilies: The Impressionists D\u00e9cor", "description": "<i>At the Source of Monet's Water Lilies: The Impressionists D\u00e9cor</i>. Mus\u00e9e de l'Orangerie, Paris, France (March 1-July 11, 2022).", "opening_date": "2022-03-01T05:00:00"}, {"id": 691572, "title": "Monet in Le Havre", "description": "<i>Monet in Le Havre</i>. Mus\u00e9e d'art moderne Andr\u00e9 Malraux, 76600 Le Havre, France (organizer) (June 5-September 27, 2026) https://www.muma-lehavre.fr/fr/expositions/monet-au-havre.", "opening_date": "2026-06-05T04:00:00"}], "legacy": [{"description": "<em>La vingti\u00e8me exposition municipale des beaux-arts.</em> Probably Mus\u00e9e de Rouen, Rouen, France (1864).", "opening_date": null}]}, "provenance": [{"description": "The artist's elder brother, L\u00e9on Pascal Monet [1836-1917], Rouen, France", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Wildenstein & Col., New York, NY, April 17, 1953, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1953", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Monet is quoted as saying, \"I perhaps owe having become a painter to flowers<em>.</em>\" He painted this work in 1864, the first productive year of his career.", "early_education_description": null, "artlens_description": null, "description": "This early work reveals Claude Monet's fascination with capturing the transitory effects that became the primary focus of his later innovations. Painted with almost scientific accuracy, this still life has a freshness and immediacy derived partly from its composition. Isolated against a dark background, the fully mature peonies, potted hydrangeas, and basketed lilacs spill downward and outward from the geraniums at the rear. At the same time, Monet's energetic brushwork conveys the sparkling play of light on leaves and petals.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q50807788"], "internet_archive": ["https://archive.org/details/clevelandart-1953.155-spring-flowers"]}, "citations": [{"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, Heather Lemonedes, and Lucy I. Zimmerman. Painting the Modern Garden: Monet to Matisse. 2015. catalogue no. 3", "page_number": "90", "url": null}, {"citation": "Bazille, Fre\u0301de\u0301ric, Michel Hilaire, and Paul Perrin. Fre\u0301de\u0301ric Bazille (1841-1870) and the Birth of Impressionism. 2016. catalogue no. 52", "page_number": "95", "url": null}, {"citation": "Venturi, Lionello, and Paul Durand-Ruel. <em>Les archives de l'impressionnisme. Lettres de Renoir, Monet, Pissaro, Sisley et autres. Me\u0301moires de Paul Durand-Ruel</em>. <em>Documents</em>. Paris, France: Durand-Ruel, 1939.", "page_number": "Mentioned: v. 1, p. 20", "url": null}, {"citation": "Francis, Henry S. \"Spring Flowers.\" <em>The Bulletin of the Cleveland Museum</em> <em>of Art XLI, </em>no. 2 (February, 1954)<em>: </em>23-24.", "page_number": "Reproduced: on cover", "url": null}, {"citation": "\"Accessions of American and Canadian Museums.\" <em>The Art Quarterly </em>XVII, no. 1 (Spring 1954): 63-75", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "Detroit Institute of Arts. <em>The Two Sides of the Medal; French Painting from Ge\u0301ro\u0302me to Gauguin</em>. 1954.", "page_number": "Mentioned: cat. no. 43, p 32, Reproduced: p. 36", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum</em> <em>of Art XLII, </em>no. 6 (June,1955).", "page_number": "Reproduced: on cover", "url": null}, {"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Mentioned and Reproduced: no. 1, 23, 27", "url": null}, {"citation": "The Cleveland Museum of Art. <em>In Memoriam Leonard C. Hanna, Jr.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 66", "url": null}, {"citation": "William Mathewson Milliken. <em>The Cleveland Museum of Art</em>. New York: H.N. Abrams, 1958.", "page_number": "Reproduced: no. 52", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 502", "url": "https://archive.org/details/CMAHandbook1958/page/n92"}, {"citation": "<em>ARTnews </em>LVII, no. 1 (March 1958): 1.", "page_number": "Reproduced: p. 1", "url": null}, {"citation": "Rewald, John. <em>The History of Impressionism</em>. New York, NY: Museum of Modern Art, 1961.", "page_number": "Reproduced: p. 112", "url": null}, {"citation": "Tate Gallery, and John Hay Whitney. <em>The John Hay Whitney Collection</em>. Exh. Cat. London, UK: Tate Gallery, 1961.", "page_number": "p. 9, 14", "url": null}, {"citation": "Clifford, Henry, and Carl Zigrosser. \"A World of Flowers: Paintings and Prints.\" <em>Philadelphia Museum of Art Bulletin</em> 58, no. 277 (1963): 93-243. doi:10.2307/3795158.", "page_number": null, "url": "https://www.jstor.org/stable/3795158"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1966/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1969/page/n198"}, {"citation": "Wildenstein, Daniel, and Aurora Colloridi. <em>Claude Monet</em>. Milan, Italy: Fratelli Fabbri, 1971.", "page_number": "Reproduced: p. 75", "url": null}, {"citation": "Wildenstein, Daniel, <em>Claude Monet: biographie et catalogue raisonne\u0301.</em> Lausanne. Switzerland: La Bibliothe\u0300que des arts, 1974.", "page_number": "Reproduced: vol.1, no. 20", "url": null}, {"citation": "Monet, Claude, and Susan Wise. <em>Paintings by Monet: [Exhibition] March 15 Through May 11, 1975, the Art Institute of Chicago</em>. Chicago: Art Institute of Chicago, 1975.", "page_number": "Mentioned and Reproduced: cat. no. 3, p. 56-57", "url": null}, {"citation": "Monneret, Sophie. L'impressionnisme et son e\u0301poque: dictionnaire international illustre\u0301. Paris, France: Denoe\u0308l, 1978.", "page_number": "Mentioned: v. 2, p. 57; v. 2 p. 77", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "Philadelphia Museum of Art, Detroit Institute of Arts, and Galeries nationales du Grand Palais (France). <em>The Second Empire, 1852-1870: Art in France Under Napoleon III</em>. Philadelphia: The Museum, 1978.", "page_number": null, "url": null}, {"citation": "Stuckey, Charles F. <em>Monet: A Retrospective</em>. New York, NY, 1985.", "page_number": "Reproduced: p. 272", "url": null}, {"citation": "Renoir, Auguste. <em>Renoir: Hayward Gallery, London, 30 January-21 April 1985, Galeries Nationales Du Grand Palais, Paris, 14 May-2 September 1985, Museum of Fine Arts, Boston, 9 October 1985-5 January 1986</em>. [London]: Arts Council of Great Britain, 1985.", "page_number": "Mentioned and Reproduced: p. 183", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-196</em>0. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 95, no. 1", "url": ""}, {"citation": "Kendall, Richard. <em>Monet by Himself: Paintings, Drawings, Pastels, Letters</em>. London, United Kingdom: Macdonald Orbis, 1989.", "page_number": "Reproduced: p. 35", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 158", "url": null}, {"citation": "Bajou-Charpentreau, Vale\u0301rie, and Fre\u0301de\u0301ric Bazille. <em>Fre\u0301de\u0301ric Bazille, 1841-1870</em>. La Calade, Aix-en-Provence, France: Edisud, 1993.", "page_number": "Reproduced: p. 121", "url": null}, {"citation": "Denvir, Bernard. <em>The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists. </em>London, UK: Thames and Hudson, 1993.", "page_number": "Reproduced: p. 32-33", "url": null}, {"citation": "Grandjean, Gilles. <em>Rouen, les Cathe\u0301drales de Monet</em>: Exh. Cat. Rouen, France: Muse\u0301e des Beaux Arts, 1994.", "page_number": "Reproduced: p. 30", "url": null}, {"citation": "Tucker, Paul Hayes. <em>Mone ten =</em> <em>Monet, a retrospective</em>. Exh. Cat. Nagoya-sh, Japan: Chu\u0304nichi Shinbunsha, 1994.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "Tinterow, Gary, and Henri Loyrette. <em>Origins of Impressionism</em>. 1994.", "page_number": "Mentioned: cat. no. 115, p. 177, Reproduced: 179", "url": null}, {"citation": "Stuckey, Charles F., Claude Monet, Sophia Shaw, and James N. Wood. <em>Claude Monet: 1840-1926</em>. Exh. Cat. New York, NY: Thames and Hudson, 1995.", "page_number": null, "url": null}, {"citation": "Wildenstein, Daniel, <em>Monet: Catalogue Raisonne, </em>4 volumes. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": null, "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet</em>. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": "Reproduced: Vol. 2, p. 16", "url": null}, {"citation": "Pitman, Dianne W. <em>Bazille: Purity, Pose, and Painting in the 1860s. </em>University Park, PA: Pennsylvania State University, 1998.", "page_number": "Reproduced: p. 80,  Figure: 48", "url": null}, {"citation": "D' Argencourt, Louise and Roger Diederen.<em> The Cleveland Museum of Art: Catalogue of Paintings, Part II. European Paintings of the 19th Century. </em>Cleveland, OH: Cleveland Museum of Art,1999.", "page_number": "Reproduced: p. 447", "url": null}, {"citation": "Rathbone, Eliza E., and George T. M. Shackelford. <em>Impressionist Still Life</em>. New York, NY: H.N. Abrams, 2001.", "page_number": "Reproduced: p. 63, Plate 9", "url": null}, {"citation": "Becker, Christoph. <em>Monet's garden</em>. Ostfildern-Ruit, Germany: Hatje Cantz, 2004.", "page_number": "Reproduced: p. 15, Figure 1", "url": null}, {"citation": "Willsdon, Clare A. P. <em>In the Gardens of Impressionism</em>. New York, NY: Vendome Press, 2004.", "page_number": "Reproduced: p. 40, fig. 39", "url": null}, {"citation": "Willsdon, Clare A. P. I<em>mpressionist Gardens</em>. Exh. Cat. Edinburgh, Scotland: National Galleries of Scotland, 2010.", "page_number": "Reproduced: p. 24, Figure 16", "url": null}, {"citation": "Willsdon, Clare A. P. <em>Jardines impresionistas</em>. Exh. Cat. Madrid, Spain: Museo Thyssen-Bornemisza, 2010.", "page_number": "Reproduced: p. 55, Figure 19", "url": null}, {"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, and Heather Lemonedes. <em>Painting the Modern Garden: Monet to Matisse</em>. 2015.", "page_number": "Mentioned: cat. no. 3, p. 90", "url": null}, {"citation": "Willsdon, Clare A. P. <em>In the Gardens of Impressionism.</em> London: Thames and Hudson, 2016.", "page_number": "Reproduced: P. 40, fig. 39; Mentioned: P. 42", "url": null}, {"citation": "Shackelford, George T. M., et. al. <em>Monet: The Early Years.</em> Fort Worth, TX: Kimball Art Museum, 2016.", "page_number": "Reproduced: p. 72, fig. 75", "url": null}, {"citation": "Hilaire, Michel and Paul Perrin, eds. <em>Fre\u0301de\u0301ric Bazille (1841-1870) and the birth of impressionism.</em> Paris: Flammarion, 2016.", "page_number": "Reproduced: P. 95, fig. 52, cat. 110", "url": null}, {"citation": "Amiot-Saulnier, Emmanuelle. \"Le Jardin de Monet a Matisse.\" <em>L'Estampille, l'objet d'art</em> 521, (Mar. 2016): 28-35.", "page_number": "Reproduced: p. 32", "url": null}, {"citation": "Patry, Sylvie, and Anne Robbins. <em>Le De\u0301cor Impressionniste: Aux Sources des Nymphe\u0301as.</em> Vanves: Hazan; Paris: Muse\u0301e de l'Orangerie, 2022.", "page_number": "Reproduced: P. 52, no. 20", "url": ""}, {"citation": "Lefebvre, Ge\u0301raldine, ed. \"Collection L\u00e9on Monet. \u0152uvres.\" In <em>Le\u0301on Monet: Fre\u0300re de l'Artiste et Collectionneur, </em>112-151. Paris: RMN - Grand Palais, 2023.", "page_number": "Reproduced: P. 121", "url": ""}, {"citation": "David, Jeanne-Marie. \"Monet a Rouen: Peindre les Cathedrales.\" In <em>Claude Monet: Portail de La Cath\u00e9drale de Rouen, Temps Gris, e</em>dited by Jeanne-Marie David, 9-23. Cinisello Balsamo, Milano: Silvana Editoriale, 2024.", "page_number": "Mentioned and reproduced: p. 9-10, fig.1", "url": ""}], "url": "https://clevelandart.org/art/1953.155", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.155/1953.155_web.jpg", "width": "685", "height": "900", "filesize": "215454", "filename": "1953.155_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.155/1953.155_print.jpg", "width": "2589", "height": "3400", "filesize": "2740556", "filename": "1953.155_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.155/1953.155_full.tif", "width": "11304", "height": "14845", "filesize": "503456588", "filename": "1953.155_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1953.155/1953.155_alt0_web.jpg", "width": "681", "height": "893", "filesize": "463728"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.155/1953.155_alt0_print.jpg", "width": "2593", "height": "3400", "filesize": "5908134"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.155/1953.155_alt0_full.tif", "width": "3575", "height": "4687", "filesize": "50300540"}, "date_created": "2005-09-26T17:54:49", "annotation": ""}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 130391, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-04-17T00:00:00", "sortable_date": 1864, "date_added_to_oa": null, "date_text": "1864", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-10-17 11:22:14.680000"}, {"id": 95272, "accession_number": "1916.1044", "share_license_status": "CC0", "tombstone": "Gardener's House at Antibes, 1888. Claude Monet (French, 1840\u20131926). Oil on canvas; framed: 91.1 x 118.4 x 13.7 cm (35 7/8 x 46 5/8 x 5 3/8 in.); unframed: 66.3 x 93 cm (26 1/8 x 36 5/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1044", "current_location": null, "title": "Gardener's House at Antibes", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 91.1 x 118.4 x 13.7 cm (35 7/8 x 46 5/8 x 5 3/8 in.); Unframed: 66.3 x 93 cm (26 1/8 x 36 5/8 in.)", "dimensions": {"framed": {"height": 0.911, "height_inch": 35, "height_inch_fraction": 0.875, "width": 1.184, "width_inch": 46, "width_inch_fraction": 0.625, "depth": 0.137, "depth_inch": 5, "depth_inch_fraction": 0.375}, "unframed": {"height": 0.663, "height_inch": 26, "height_inch_fraction": 0.125, "width": 0.93, "width_inch": 36, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Claude Monet\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616624, "title": "Fifty Years of French Art", "description": "<i>Fifty Years of French Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29-November 29, 1926).", "opening_date": "1926-10-29T05:00:00"}, {"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 338192, "title": "Exhibition of French Painting", "description": "<i>Exhibition of French Painting</i>. Parkersburg Art Center (organizer) (October 1-30, 1946).", "opening_date": "1946-10-01T05:00:00"}, {"id": 355548, "title": "Exhibition of the Month: The Rise of the Landscape in Art", "description": "<i>Exhibition of the Month: The Rise of the Landscape in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-September 26, 1948).", "opening_date": "1948-06-09T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 338130, "title": "Claude Monet: a loan exhibition", "description": "<i>Claude Monet: a loan exhibition</i>. Saint Louis Art Museum (organizer) (September 25-October 22, 1957); Minneapolis Institute of Art (November 1-December 1, 1957).", "opening_date": "1957-09-25T04:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. The Cleveland Museum of Art, Cleveland, OH (September 18, 1979-February 17, 1980).", "opening_date": "1979-04-05T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 338127, "title": "Discerning Tastes: Montreal Collectors, 1880-1920", "description": "<i>Discerning Tastes: Montreal Collectors, 1880-1920</i>. Montr\u00e9al Museum of Fine Arts (December 15, 1989-February 25, 1990).", "opening_date": "1989-12-15T05:00:00"}, {"id": 213613, "title": "Monet and the Mediterranean", "description": "<i>Monet and the Mediterranean</i>. Kimbell Art Museum, Fort Worth, TX (organizer); The Brooklyn Museum, Brooklyn, NY (October 10, 1997-January 4, 1998).", "opening_date": "1997-06-08T00:00:00"}, {"id": 226090, "title": "Monet, Retrospective", "description": "<i>Monet, Retrospective</i>. The Yamaguchi Prefectural Museum of Art, Yamaguchi, Japan (organizer) (July 5-September 30, 2001).", "opening_date": "2001-07-05T00:00:00"}, {"id": 224416, "title": "L'oro e l'azzurro, I colori del Sud da C\u00e9zanne a Bonnard", "description": "<i>L'oro e l'azzurro, I colori del Sud da C\u00e9zanne a Bonnard</i>. Casa dei Carraresi, 31100 Treviso, Italy (October 10, 2003-March 7, 2004).", "opening_date": "2003-10-10T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 202129, "title": "Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art", "description": "<i>Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art</i>. Tokyo National Museum, Tokyo, Japan (January 15-February 23, 2014); Kyushu National Museum, Fukuoka, Japan (July 8-August 31, 2014).", "opening_date": "2014-01-15T00:00:00"}, {"id": 292174, "title": "Monet and Architecture", "description": "<i>Monet and Architecture</i>. National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (April 9-July 29, 2018).", "opening_date": "2018-04-09T04:00:00"}, {"id": 304929, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Albertina, Wien, Austria (organizer) (September 21, 2018-January 6, 2019) https://www.albertina.at/en/exhibitions/monet/.", "opening_date": "2018-09-21T04:00:00"}, {"id": 395292, "title": "Monet in Full Light", "description": "<i>Monet in Full Light</i>. Grimaldi Forum - Monaco, MC 98001 Monaco cedex (organizer) (July 8-September 3, 2023) https://www.grimaldiforum.com/en/events-schedule-monaco/exhibition-monet-full-light-grimaldi-forum-monaco.", "opening_date": "2023-07-08T04:00:00"}, {"id": 662787, "title": "Monet in Focus", "description": "<i>Monet in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (March 31-August 11, 2024).", "opening_date": "2023-10-28T04:00:00"}, {"id": 672923, "title": "Monet's Ecology", "description": "<i>Monet's Ecology</i>. Museu de Arte de S\u00e3o Paulo Assis Chateaubriand - MASP, Sao Paolo, Brazil (organizer) (May 16-September 7, 2025).", "opening_date": "2025-05-16T04:00:00"}, {"id": 540653, "title": "Painting the French Riviera", "description": "<i>Painting the French Riviera</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (October 2, 2026-January 31, 2027); The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-July 11, 2027).", "opening_date": "2026-10-02T04:00:00"}], "legacy": [{"description": "<em>Cleveland Art Loan Exposition under the Auspices of the Cleveland School of Art.</em> Kinney and Levan Building, Cleveland, OH (1913).", "opening_date": "1913-01-01T00:00:00"}]}, "provenance": [{"description": "(Durand-Ruel, Paris, France, 1891, purchased from the artist).", "citations": [], "footnotes": null, "date": "July 20, 1891", "sortorder": 1}, {"description": "(Durand-Ruel, Paris, France, sold to Duran-Ruel, New York, NY)", "citations": [], "footnotes": null, "date": "1891", "sortorder": 2}, {"description": "(Duran-Ruel, New York, NY, April 19, 1892 sold to W. C. van Horne, Montreal, Canada)", "citations": [], "footnotes": null, "date": "1892", "sortorder": 3}, {"description": "W. C. van Horne [1843-1915], Montreal, Canada, sold back to Durand-Ruel, New York, NY August 24,1892.", "citations": [], "footnotes": null, "date": "1892", "sortorder": 4}, {"description": "(Durand-Ruel, New York, NY, September 7, 1892, sold to J. Cook, St. Louis, MO)", "citations": [], "footnotes": null, "date": "1892-1893", "sortorder": 5}, {"description": "Bought back by Durand-Ruel, New York, together with Boussod et Valadon at the W. H. Johnson-J. Cook sale, 11 March 1893.", "citations": [], "footnotes": null, "date": "1893", "sortorder": 6}, {"description": "Sold by Durand-Ruel, New York, to Jeptha H. Wade on 11 March 1893.", "citations": [], "footnotes": null, "date": "1893", "sortorder": 7}, {"description": "Jeptha H.Wade, given to the CMA in 1916.", "citations": [], "footnotes": null, "date": "1893-1916", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1916-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Monet painted 35 canvases during his visit to Antibes from January to May 1888.", "early_education_description": null, "artlens_description": null, "description": "In 1888, Claude Monet spent four months in Antibes, a city in southeastern France on the Mediterranean coast, to derive inspiration for painting. Although his visit was occasionally challenged by strong winds that threatened to knock over his easel, the artist was able to complete nearly 40 works. This especially vibrant canvas is a depiction of a gardener\u2019s house set against the sea and the distant Alps. Monet portrays intense midday light through thickly applied paint in bright colors that evoke the region\u2019s sun-drenched climate. Small daubs of green on the slender trees framing the house suggest the onset of spring.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q51579215"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1044-gardener-s-house-at"]}, "citations": [{"citation": "", "page_number": "", "url": ""}, {"citation": "Warner, Langdon. \u201cThe Wade Collection.\u201d <em>The Bulletin of The Cleveland Museum of Art</em> IV, no. 1 (January, 1917): 3-8.", "page_number": "Mentioned: p. 3.", "url": "http://www.jstor.org/stable/25136053"}, {"citation": "\"Recent Changes in the Painting Galleries.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 2/3 (1918): 22-27.", "page_number": "Mentioned: p. 22", "url": "www.jstor.org/stable/25136174"}, {"citation": "W. M. M. \"French Art since Eighteen Hundred.\" <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 155-57.", "page_number": null, "url": "http://www.jstor.org/stable/25137246."}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 162", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "Venturi, Lionello. <em>Les archives de l'impressionnisme. Lettres de Renoir, Monet, Pissaro, Sisley et autres. Me\u0301moires de Paul Durand-Ruel. Documents.</em> Paris, New York: Durand-Ruel, editeurs, 1939.", "page_number": "Reproduced: v. 1, p. 340.", "url": null}, {"citation": "Francis, Henry. \"Two Landscapes by Claude Monet.\" <em>The Bulletin of the Cleveland Museum of Art </em>35, no. 1 (January 1948): 4-7.", "page_number": "Mentioned: p. 5", "url": "https://www.jstor.org/stable/25141425"}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduction: v. 2, p. 252.", "url": null}, {"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Mentioned and Reproduced: cat. no. 68", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 503", "url": "https://archive.org/details/CMAHandbook1958/page/n92"}, {"citation": "Henning, E. B. \u201cCleveland Museum of Art: from Turner to Guston.\u201d <em>Apollo: The International Magazine for Collectors </em>78 (December 1963): 481-488.", "page_number": "Reproduced: p. 485", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1966/page/n200"}, {"citation": "<em>Selected Works: Cleveland Museum of Art.</em> [Cleveland]: The Museum,1967.", "page_number": "Reproduced: no. 211.", "url": null}, {"citation": "Moore, Janet Gaylord. <em>The Many Ways of Seeing: An Introduction to the Pleasures of Art.</em> Cleveland: World Pub. Co, 1968.", "page_number": "Reproduced: p. 39.", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1969/page/n200"}, {"citation": "Henning, Edward B. \"Pablo Picasso-Bouteille, Verre et Fourchette.\" <em>The</em> <em>Bulletin of the Cleveland Museum of Art </em>LIX, (September 1972): 198-199.<em><br></em>", "page_number": "Reproduced: p. 198, fig. 11", "url": null}, {"citation": "Wildenstein, Daniel. <em>Claude Monet: Biographie et Catalogue Raisonne\u0301.</em> Lausanne: La Bibliothe\u0300que des Arts, 1974.", "page_number": "Reproduced: v. 3, no. 1165", "url": null}, {"citation": "d'Argencourt, Louise, and Roger Diederen. <em>Catalogue of Paintings.</em> Part 4, Vol. II, European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Reproduced: p. 456, no. 158", "url": null}, {"citation": "Johnson, Mark M. \"An Introduction to Landscape Painting.\" <em>Arts and <br>Activities </em>82, no. 3 (1977):34-39.", "page_number": "Reproduced: p. 38", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "Bortolatto, Luigina Rossi. <em>Tout l'\u0153uvre peint de Monet, 1870-1889.</em> Paris: Flammarion, 1981.", "page_number": "Reproduced: p. 109, fig. 321", "url": null}, {"citation": "Borowitz, Helen O. \"The Rembrandt and Monet of Marcel Proust.\"<em> The Bulletin of the Cleveland Museum of Art </em>LXX, no.2 (February, 1983): 73-95.", "page_number": "Reproduced: p. 89, fig. 15", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Reproduced: P. 34, pl. 1; Mentioned and reproduced: P. 96", "url": null}, {"citation": "Brooke, Janet M. <em>Discerning Tastes: Montreal Collectors, 1880-1920, the Montreal Museum of Fine Arts</em>. Montreal, Canada: Montreal Museum of Fine Arts, 1989.", "page_number": "Mentioned: cat. no. 45, p. 134", "url": null}, {"citation": "Ku\u0308ster, Bernd. <em>Monet: seine Reisen in den Su\u0308den.</em> Hamburg: Ellert &amp; Richter, 1992.", "page_number": "Reproduced: no. 13", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet.</em> Ko\u0308ln: Taschen, 1996.", "page_number": "Reproduced: v. 3, no. 1165", "url": null}, {"citation": "Isaacson, Joel. \"Claude Monet.\" In <em>The Dictionary of Art.</em> J. S. Turner, ed., 861-868. New York: Grove, 1996.", "page_number": "Mentioned: p. 867", "url": null}, {"citation": "Chong, Alan, \u201cCleveland Collectors a Century Ago\u201d, <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 36 no. 05, May 1996", "page_number": "Mentioned & reproduced: p. 9", "url": "https://archive.org/details/CMAMM1996-05/page/n7"}, {"citation": "Pissarro, Joachim<em>. Monet and the Mediterranean</em>. New York: Rizzoli in association with the Kimbell Art Museum; Fort Worth, Texas, 1997.", "page_number": "Reproduced: no. 58, p. 130-131", "url": null}, {"citation": "Shackleford, George. \"Fort Worth and New York: Monet and the Mediterranean.\" <em>Burlington Magazine </em>139 (October 1997): 716-719.", "page_number": "Reproduced: p. 719", "url": null}, {"citation": "Kirsh, Andrea, and Rustin S. Levenson. <em>Seeing Through Paintings: Physical Examination in Art Historical Studies</em>. New Haven: Yale University Press, 2000.", "page_number": "Reproduced: verso no. 47, p. 42", "url": null}, {"citation": "<em>Kuro\u0304do Mone ten = Claude Monet</em>. To\u0304kyo\u0304: Asano Kenkyu\u0304jo, 2001.", "page_number": "Reproduced: p. 95.", "url": null}, {"citation": "Goldin, Marco. <em>L'oro e l'azzurro: i colori del sud da Ce\u0301zanne a Bonnard. </em>Conegliano [Italy]: Linea d'ombra Libri, 2003.", "page_number": "Reproduced: p. 100, fig. 14", "url": null}, {"citation": "Elue\u0300re, Christiane. <em>Monet et la Riviera</em>. [Paris?]: Citadelles &amp; Mazenod, 2006.", "page_number": "Reproduced: p. 170, fig. 129", "url": null}, {"citation": "<em>Admired from afar: masterworks of Japanese painting from the Cleveland Museum of Art</em> [\u30af\u30ea\u30fc\u30d6\u30e9\u30f3\u30c9\u7f8e\u8853\u9928\u5c55 : \u540d\u753b\u3067\u305f\u3069\u308b\u65e5\u672c\u306e\u7f8e Kur\u012bburando Bijutsukan ten: meiga de tadoru Nihon no bi ]. Tokyo: T\u014dky\u014d Kokuritsu Hakubutsukan, 2014.", "page_number": "Reproduced: p. 133, fig. 7", "url": null}, {"citation": "Thomson, Richard. <em>Monet &amp; Architecture</em>. London, England: National Gallery Company, 2018.", "page_number": "Reproduced: p. 70-73, pl. 61", "url": null}, {"citation": "Bauer, Gunhild. \"Monet's Journeys of the 1880s: \"Plunging Both Hands Into the Ocean.\" In <em>Claude Monet: A Floating World.</em> Heinz Widauer and Dieter Buchhart, eds., 55-79. Vienna: The Albertina Museum, 2018.", "page_number": "Mentioned and reproduced: p. 126-129, cat. 47; reproduced: p. 241, fig. 7", "url": null}, {"citation": "Rubin, James Henry. Monet. 2020, 120.", "page_number": "Mentioned and reproduced; pp. 119-120, fig. 102.", "url": ""}, {"citation": "Rubin, James Henry. Monet. 2020.", "page_number": "Mentioned and reproduced; pp. 155-156, fig. 129", "url": ""}, {"citation": "Labarr\u00e8re, Andr\u00e9 Z. \"Antibes/Juan-les-Pins.\" In <em>Monet en Pleine Lumi\u00e8re, </em>edited by. Marianne Mathieu, 242-263. Exh. cat. Vanves: Hazan; Monaco: Grimaldi Forum Monaco, 2023.", "page_number": "Mentioned: p. 255; Reproduced: p. 257, cat. 87", "url": ""}, {"citation": "Lefebvre, G\u00e9raldine. \"Monet's Gardens: From Le Havre to Giverny.\" In <em>Monet\u2019s Ecology, </em>edited by Adriano Pedrosa and Fernando Oliva, 190-231. S\u00e3o Paulo: Museu de Arte de S\u00e3o Paulo Assis Chateaubriand (MASP), 2025.", "page_number": "Reproduced: p. 229, no. 141", "url": ""}], "url": "https://clevelandart.org/art/1916.1044", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1044/1916.1044_web.jpg", "width": "900", "height": "640", "filesize": "414344", "filename": "1916.1044_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1044/1916.1044_print.jpg", "width": "3400", "height": "2418", "filesize": "5893352", "filename": "1916.1044_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1044/1916.1044_full.tif", "width": "15628", "height": "11116", "filesize": "521195240", "filename": "1916.1044_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1044/1916.1044_alt0_web.jpg", "width": "900", "height": "675", "filesize": "469288"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1044/1916.1044_alt0_print.jpg", "width": "3400", "height": "2550", "filesize": "6490285"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1044/1916.1044_alt0_full.tif", "width": "15995", "height": "11996", "filesize": "575661496"}, "date_created": "2017-05-09T14:14:02", "annotation": ""}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95272, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-10-02T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Antibes"], "is_highlight": false, "updated_at": "2026-10-20 18:53:43.342000"}, {"id": 125234, "accession_number": "1947.196", "share_license_status": "CC0", "tombstone": "Low Tide at Pourville, near Dieppe, 1882, 1882. Claude Monet (French, 1840\u20131926). Oil on fabric; framed: 65.4 x 106.7 x 10.5 cm (25 3/4 x 42 x 4 1/8 in.); unframed: 59.9 x 81.3 cm (23 9/16 x 32 in.). The Cleveland Museum of Art, Gift of Mrs. Henry White Cannon, 1947.196", "current_location": "222 Impressionism & Post-Impressionism", "title": "Low Tide at Pourville, near Dieppe, 1882", "creation_date": "1882", "creation_date_earliest": 1882, "creation_date_latest": 1882, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 65.4 x 106.7 x 10.5 cm (25 3/4 x 42 x 4 1/8 in.); Unframed: 59.9 x 81.3 cm (23 9/16 x 32 in.)", "dimensions": {"framed": {"height": 0.654, "height_inch": 25, "height_inch_fraction": 0.75, "width": 1.067, "width_inch": 42, "width_inch_fraction": 0.0, "depth": 0.105, "depth_inch": 4, "depth_inch_fraction": 0.125}, "unframed": {"height": 0.599, "height_inch": 23, "height_inch_fraction": 0.5625, "width": 0.813, "width_inch": 32, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: 82 Claude Monet \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311945, "title": "The Sea", "description": "<i>The Sea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 25, 1950).", "opening_date": "1950-09-23T04:00:00"}, {"id": 338130, "title": "Claude Monet: a loan exhibition", "description": "<i>Claude Monet: a loan exhibition</i>. Saint Louis Art Museum (organizer) (September 25-October 22, 1957); Minneapolis Institute of Art (November 1-December 1, 1957).", "opening_date": "1957-09-25T04:00:00"}, {"id": 338456, "title": "Impressionism and its Roots", "description": "<i>Impressionism and its Roots</i>. University of Iowa Museum of Art, Iowa City, IA (organizer) (November 8-December 6, 1964).", "opening_date": "1964-11-08T05:00:00"}, {"id": 520810, "title": "Impressionism and its Roots", "description": "<i>Impressionism and its Roots</i>. University of Iowa Museum of Art, Iowa City, IA (organizer) (November 8-December 6, 1964).", "opening_date": "1964-11-08T05:00:00"}, {"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. The Cleveland Museum of Art, Cleveland, OH (September 18, 1979-February 17, 1980).", "opening_date": "1979-04-05T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 442204, "title": "Paris autour de 1882 (Paris around 1882)", "description": "<i>Paris autour de 1882 (Paris around 1882)</i>. Museum of Fine Arts, Gifu, Gifu City, Japan (organizer) (November 3-December 19, 1982); Museum of Modern Art, Kamakura, Kanagawa, Japan (January 15-February 20, 1983).", "opening_date": "1982-11-03T05:00:00"}, {"id": 226271, "title": "Monet: The Seine and the Sea, Vetheuil and Normandy, 1878-1883", "description": "<i>Monet: The Seine and the Sea, Vetheuil and Normandy, 1878-1883</i>. Gallery of the Royal Scottish Academy, Edinburgh, Scotland (August 6-October 26, 2003).", "opening_date": "2003-08-06T00:00:00"}, {"id": 229548, "title": "Boudin, Monet and the Sea Painters of Normandy", "description": "<i>Boudin, Monet and the Sea Painters of Normandy</i>. The Bowes Museum, County Durham, United Kingdom of Great Britain and Northern Ireland (organizer) (May 29-August 30, 2004).", "opening_date": "2004-05-29T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 208590, "title": "Monet in Normandy", "description": "<i>Monet in Normandy</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (June 17-September 17, 2006); North Carolina Museum of Art, Raleigh, NC (October 8, 2006-January 14, 2007); The Cleveland Museum of Art, Cleveland, OH (February 18-May 28, 2007).", "opening_date": "2006-06-17T00:00:00"}, {"id": 220678, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (September 20, 2010-January 24, 2011).", "opening_date": "2010-09-20T00:00:00"}, {"id": 224362, "title": "Monet - Reflections and Shadows", "description": "<i>Monet - Reflections and Shadows</i>. Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (organizer) (January 22-May 28, 2017).", "opening_date": "2017-01-22T00:00:00"}, {"id": 297110, "title": "Monet/Boudin", "description": "<i>Monet/Boudin</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (June 26-September 30, 2018).", "opening_date": "2018-06-26T04:00:00"}, {"id": 679183, "title": "Monet and Venice", "description": "<i>Monet and Venice</i>. The Brooklyn Museum, Brooklyn, NY (organizer) (October 10, 2025-February 1, 2026) https://www.brooklynmuseum.org/exhibitions/monet-venice; Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (March 21-July 26, 2026) https://www.famsf.org/exhibitions/monet-venice.", "opening_date": "2025-10-10T04:00:00"}], "legacy": [{"description": "Durand-Ruel, Paris, France: 1883. no. 9 (according to Wildenstein 1979; cannot be confirmed by Durand-Ruel),", "opening_date": "1979-01-01T00:00:00"}, {"description": "<em>Pictures by Claude Monet.</em> Lotos Club, New York, NY (1899).", "opening_date": null}]}, "provenance": [{"description": "Possibly bought from the artist in 1882 by Durand-Ruel, Paris, France (this information from the Wildenstein catalogue raisonn\u00e9 cannot be confirmed by Durand-Ruel as their files on this matter are not conclusive).", "citations": [], "footnotes": [], "date": "?1882", "sortorder": 1}, {"description": "Henry White Cannon [1850-1934], New York, NY, 1899.", "citations": [], "footnotes": [], "date": "1889", "sortorder": 2}, {"description": "Mrs. Henry White Cannon [1861-1954] New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1947", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1947-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The narrow strokes of black paint along the the edge of the water at the base of the cliff indicate bathers.", "early_education_description": null, "artlens_description": null, "description": "This is one of several views Claude Monet painted of Pourville, a fishing village on the north coast of France in Normandy. Pourville featured a boardwalk, a broad beach, and stunning cliffs. According to the artist's correspondence, the village was nothing special, but he was inspired by the landscape: \"One could not be any closer to the sea than I am, on the pebbled beach itself and the waves beat at the foot of the house.\" During the spring of 1882 in Pourville, Monet stayed in a small hotel similar to the dwellings seen at the foot of the cliff to the right in this painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515388"], "internet_archive": ["https://archive.org/details/clevelandart-1947.196-low-tide-at-pourvill"]}, "citations": [{"citation": "Francis, Henry S. \"Two Landscapes by Claude Monet.\" <em>The Bulletin of the Cleveland Museum of Art XXXV,</em> no. 1 (January,1948): 4-7.", "page_number": "Mentioned: p. 4-7", "url": null}, {"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Referenced: cat. no. 52, Reproduced: Pl. 52", "url": null}, {"citation": "University of Iowa. <em>Impressionism and Its Roots</em>. Iowa City, Iowa: University of Iowa, Gallery of Art, 1964.", "page_number": "Referenced:c at. no. 36, Reproduced", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1966/page/n199"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1969/page/n199"}, {"citation": "Wildenstein, Daniel. <em>Claude Monet: Biographie et Catalogue Raisonne\u0301.</em> Lausanne: La Bibliothe\u0300que des Arts, 1974.", "page_number": "Reproduced: vol. 2, no. 716", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "Bortolatto, Luigina Rossi. <em>Tout l'\u0153uvre peint de Monet, 1870-1889.</em> Paris: Flammarion, 1981.", "page_number": "Reproduced: p. 103, fig. 228", "url": null}, {"citation": "Borowitz, Helen O. \" The Rembrandt and Monet of Marcel Proust.\" <em>The Bulletin of the Cleveland Museum of Art VXX, </em>no. 2 (February, 1983): 83.", "page_number": "Reproduced: p. 84, Figure 9", "url": null}, {"citation": "House, John. <em>Monet, Nature into Art. </em>New Haven<em>, </em>CT: Yale University Press, 1986.", "page_number": "Reproduced: p. 190", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet.</em> Ko\u0308ln: Taschen, 1996.", "page_number": "Reproduced: Vol. 1, 179; vol. 2, 716", "url": null}, {"citation": "Zeidler, Birgit. <em>Claude Monet: Leben und Werk.</em> Ko\u0308ln, Germany: Ko\u0308nemann, 1998.", "page_number": "Reproduced: p. 57", "url": null}, {"citation": "D' Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part II; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 455", "url": null}, {"citation": "Monet, Claude, Norio Shimada, and Keiko Sakagami. Kuro\u0304do Mone meigashu\u0304: hikari to kaze no kiseki. To\u0304kyo\u0304, Japan: Nihon Bijutsu Kyo\u0304iku Senta\u0304, 2001.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "Clarke, Michael, and Richard Thomson. <em>Monet: The Seine and the Sea, 1878-1883</em>. Exh. Cat. Edinburgh, Scotland: National Galleries of Scotland, 2003.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Barker, Amy, Joanna Hashagen, and Lesley Taylor. <em>Boudin, Monet and the</em> <em>Sea Painters of Normandy</em>. [County Durham, England]: Bowes Museum, 2004.", "page_number": "Reproduced: p. 28-29", "url": null}, {"citation": "Burgess, Margaret B., \"Side by Side\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 05, May/June 2005", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2005-05/page/6"}, {"citation": "Lemonedes, Heather, Lynn Federle Orr, and David H. Steel. <em>Monet in Normandy</em>. New York, NY: Rizzoli International Publications, Inc., 2006.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Noce, Vincent. <em>Monet, l'oeil et l'eau</em>. Paris, France: Re\u0301union des Muse\u0301es nationaux, 2010.", "page_number": "Reproduced: front cover", "url": null}, {"citation": "Baillio, Joseph. <em>Claude Monet, 1840-1926</em>: Exh. Cat. Paris, France: Galeries Nationales, Grand Palais, Re\u0301union des muse\u0301es nationaux, 2010.", "page_number": "Reproduced: p. 179", "url": null}, {"citation": "Ulf Ku\u0308ster, ed. <em>Monet: Light, Shadow, and Reflection</em>. Basel: Fondation Beyeler; Berlin: Hatje Cantz, 2017.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Lefebvre, Ge\u0301raldine. <em>Monet/Boudin</em>. Madrid: Museo Nacional Thyssen-Bornemisza, 2018.", "page_number": "Reproduced: p. 31, 130, cat. no. 63", "url": null}, {"citation": "Goldin, Marco. <em>Il Giardino e la Luna: Arte dell'Ottocento dal Romanticismo all'Impressionismo. </em>Milano : La nave di Teseo, 2021.", "page_number": "Reproduced: P. 503", "url": ""}, {"citation": "\"Leave a Legacy.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no. 3 (September 2022): 38.", "page_number": "Reproduced: P. 38.", "url": ""}, {"citation": "Small, Lisa. \"Monet in Venice: Anxiety and Enchantment.\" In <em>Monet and Venice, </em>Brooklyn Museum, and Fine Arts Museums of San Francisco, 30-69. New York: Rizzoli Electa, 2025.", "page_number": "Reproduced: p. 65, fig. 77; Mentioned: p. 58", "url": ""}], "url": "https://clevelandart.org/art/1947.196", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_web.jpg", "width": "900", "height": "664", "filesize": "261130", "filename": "1947.196_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_print.jpg", "width": "3400", "height": "2508", "filesize": "4906385", "filename": "1947.196_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_full.tif", "width": "15254", "height": "11254", "filesize": "515035628", "filename": "1947.196_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt0_web.jpg", "width": "900", "height": "724", "filesize": "369075"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt0_print.jpg", "width": "3400", "height": "2735", "filesize": "6109143"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt0_full.tif", "width": "14916", "height": "12000", "filesize": "537007360"}, "date_created": "2017-06-06T15:34:52", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt1_web.jpg", "width": "1204", "height": "893", "filesize": "787475"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt1_print.jpg", "width": "3400", "height": "2521", "filesize": "6341444"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt1_full.tif", "width": "5173", "height": "3835", "filesize": "59544988"}, "date_created": "2005-09-26T15:47:03", "annotation": ""}], "creditline": "Gift of Mrs. Henry White Cannon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 125234, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-07-18T00:00:00", "sortable_date": 1882, "date_added_to_oa": null, "date_text": "1882", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-10-02 11:49:13.492000"}, {"id": 150069, "accession_number": "1980.275", "share_license_status": "CC0", "tombstone": "Claude Monet, late 1800s-early 1900s. Paul Paulin (French, 1852\u20131937). Bronze, marble base; overall: 45.1 cm (17 3/4 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.275", "current_location": null, "title": "Claude Monet", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1882, "creation_date_latest": 1922, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "bronze, marble base", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 45.1 cm (17 3/4 in.)", "dimensions": {"overall": {"height": 0.451, "height_inch": 17, "height_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. The Cleveland Museum of Art, Cleveland, OH (September 18, 1979-February 17, 1980).", "opening_date": "1979-04-05T05:00:00"}, {"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "Noah L. Butkin [1918-1980] Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1980", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In addition to Claude Monet, Paul Paulin also made portrait busts of Edgar Degas, August Renoir, Camille Pissarro, and Auguste Rodin.", "early_education_description": null, "artlens_description": null, "description": "Paul Paulin was a renowned Parisian dentist who had a passion for sculpting and was encouraged by Edgar Degas to pursue an artistic career. Paulin is best known for his portrait busts of notable Impressionists. There are related versions of this portrait bust of the celebrated painter Claude Monet at three museums in Paris: the Petit Palais (plaster), the Mus\u00e9e d'Orsay (bronze), and the Mus\u00e9e Rodin (bronze).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932139"], "internet_archive": ["https://archive.org/details/clevelandart-1980.275-claude-monet"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1980.\" <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (1981): 163-219.", "page_number": "Referenced: cat. no. 105, p. 214", "url": "https://www.jstor.org/stable/25159730"}], "url": "https://clevelandart.org/art/1980.275", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.275/1980.275_web.jpg", "width": "678", "height": "900", "filesize": "138432", "filename": "1980.275_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.275/1980.275_print.jpg", "width": "2560", 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"height": "900", "filesize": "113348"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.275/1980.275_alt7_print.jpg", "width": "2566", "height": "3400", "filesize": "1050203"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.275/1980.275_alt7_full.tif", "width": "5724", "height": "7585", "filesize": "130277284"}, "date_created": "2013-11-27T15:03:26", "annotation": ""}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150069, "creators": [{"id": 19154, "description": "Paul Paulin (French, 1852\u20131937)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1852", "death_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1882, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-09-17 11:22:18.323000"}, {"id": 157104, "accession_number": "1993.236", "share_license_status": "CC0", "tombstone": "The Seine at Bas-Meudon, 1865. Johan Barthold Jongkind (Dutch, 1819\u20131891). Oil on fabric; framed: 55.6 x 69.5 x 11.1 cm (21 7/8 x 27 3/8 x 4 3/8 in.); unframed: 34.1 x 48.1 cm (13 7/16 x 18 15/16 in.). The Cleveland Museum of Art, Gift of the family of Constance Mather Bishop, 1993.236", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Seine at Bas-Meudon", "creation_date": "1865", "creation_date_earliest": 1865, "creation_date_latest": 1865, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 55.6 x 69.5 x 11.1 cm (21 7/8 x 27 3/8 x 4 3/8 in.); Unframed: 34.1 x 48.1 cm (13 7/16 x 18 15/16 in.)", "dimensions": {"framed": {"height": 0.556, "height_inch": 21, "height_inch_fraction": 0.875, "width": 0.695, "width_inch": 27, "width_inch_fraction": 0.375, "depth": 0.111, "depth_inch": 4, "depth_inch_fraction": 0.375}, "unframed": {"height": 0.341, "height_inch": 13, "height_inch_fraction": 0.4375, "width": 0.481, "width_inch": 18, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Jongkind 1865 \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "<em>Tableaux et Aquarelles de Jongkind.</em> Galeries Durand-Ruel, Paris,France (1899).", "opening_date": null}, {"description": "<em>French Paintings of the Later Nineteenth Century.</em> Cleveland Museum of Art, Cleveland, OH (1921).", "opening_date": "1921-01-01T00:00:00"}]}, "provenance": [{"description": "(Possibly Hotel Drouot, Paris, France, April 12-14, 1883, lot 84, sale Bascle Collection, sold to Paul Dutrimont)", "citations": [], "footnotes": [], "date": "1883", "sortorder": 1}, {"description": "(Galerie George Petit, Paris, France, December 3-4, 1906, sale, Alexandre Blanc Collection, sold to Paul Detrimont, according to annotated catalogue in Frick library)", "citations": [], "footnotes": [], "date": "1906", "sortorder": 2}, {"description": "Samuel Mather [1851-1931], Cleveland, OH, by descent to his daughter, Constance Mather Bishop", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Mrs. Robert H. Bishop, Jr., (Constance Mather Bishop) [1889-1969], Novelty, OH, by descent to her son, Dr. Johnathan S. Bishop", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Dr. Johathan S. Bishop, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1993", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1993-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fellow artist Edouard Manet considered Jongkind the \"father of modern landscape painting.\"", "early_education_description": null, "artlens_description": null, "description": "Although born and trained in Holland, Jongkind spent much of his life painting outdoors in France. In this depiction of Bas-Meudon near Paris, the artist applied paint in small patches of bright color to suggest the intensity of outdoor light. Although typcially finished in the studio from open-air sketches, Jongkind's oil paintings achieve a convincing immediacy that greatly impressed the young Claude Monet. The two met in the early 1860s and spent part of a summer painting together along the coast of Normandy. \"From that time he was my real master,\" Monet later acknowledged, \"it was to him that I owe the final education of my eye.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477008"], "internet_archive": ["https://archive.org/details/clevelandart-1993.236-the-seine-at-bas-meu"]}, "citations": [{"citation": "Moreau-Ne\u0301laton, Etienne. <em>Jongkind raconte\u0301 par lui-me\u0302me</em>. Paris, France: H. Laurens, 1918.", "page_number": "Mentioned: p. 87-88", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland.</em> Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: v. 2, p. 155", "url": null}, {"citation": "Hefting, Victorine. <em>Jongkind d'apre\u0300s sa correspondance</em>. Utrecht, Netherlands: Haentjens Dekker &amp; Gumbert, 1969.", "page_number": "Mentioned p. 155, letter 2131", "url": null}, {"citation": "Hefting, Victorine. <em>Jongkind: sa vie, son \u0153uvre, son e\u0301poque</em>. Paris, France: Arts et me\u0301tiers graphiques, 1975.", "page_number": "Reproduced: p. 356", "url": null}, {"citation": "Hefting, Victorine. <em>J. B. Jongkind: voorloper van het impressionisme</em>. Amsterdam, Netherlands: Bakker, 1992.", "page_number": "Reproduced: p. 102", "url": null}, {"citation": "\u201c1993 Annual Report.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (July 1994): 143\u2013218.", "page_number": "Mentioned: p. 163", "url": "http://www.jstor.org/stable/25161457"}, {"citation": "D' Argencourt, Louise, and Roger Diederen.<em> Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century.</em> Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: v. 2, p. 377-379, no. 131", "url": null}, {"citation": "Stein, Adolphe. <em>Jongkind: catalogue critique de l'oeuvre</em>. Paris, France: Brame &amp; Lorenceau, 2003.", "page_number": "Reproduced: p. 172, fig. 368", "url": null}], "url": "https://clevelandart.org/art/1993.236", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1993.236/1993.236_web.jpg", "width": "1263", "height": "892", "filesize": "919635", "filename": "1993.236_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1993.236/1993.236_print.jpg", "width": "3400", "height": "2401", "filesize": "6612123", "filename": "1993.236_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1993.236/1993.236_full.tif", "width": "5000", "height": "3531", "filesize": "52995924", "filename": "1993.236_full.tif"}}, "alternate_images": [], "creditline": "Gift of the family of Constance Mather Bishop", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 157104, "creators": [{"id": 1788, "description": "Johan Barthold Jongkind (Dutch, 1819\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1819", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-02-15T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "1865", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 08:10:35.064000"}, {"id": 452654, "accession_number": "2022.35", "share_license_status": "CC0", "tombstone": "View of Ste-Adrese Beach with the Dumont Baths, 1856. Gustave Le Gray (French, 1820\u20131884). Albumen print from collodion negative; image: 30.8 x 39.1 cm (12 1/8 x 15 3/8 in.); paper: 30.8 x 39.1 cm (12 1/8 x 15 3/8 in.). The Cleveland Museum of Art, Gift of Michael Mattis and Judith Hochberg, 2022.35", "current_location": null, "title": "View of Ste-Adrese Beach with the Dumont Baths", "creation_date": "1856", "creation_date_earliest": 1856, "creation_date_latest": 1856, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "albumen print from collodion negative", "support_materials": [], "department": "Photography", "collection": "PH - French 19th Century", "type": "Photograph", "measurements": "Image: 30.8 x 39.1 cm (12 1/8 x 15 3/8 in.); Paper: 30.8 x 39.1 cm (12 1/8 x 15 3/8 in.)", "dimensions": {"image": {"height": 0.308, "height_inch": 12, "height_inch_fraction": 0.125, "width": 0.391, "width_inch": 15, "width_inch_fraction": 0.375}, "paper": {"height": 0.308, "height_inch": 12, "height_inch_fraction": 0.125, "width": 0.391, "width_inch": 15, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite on verso: \u201c392\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in brown ink on verso: \u201c12,982\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Daniel Wolf, New York NY, sold to Michael Mattis and Judith Hochberg, Scarsdale, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Michael Mattis & Judith Hochberg, Scarsdale, NY, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2022", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 7, 2022-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Claude Monet painted this same beach, but his works avoid precisely what Gustave Le Gray\u2019s camera reveals.", "early_education_description": null, "artlens_description": null, "description": "One of the pioneering masters of French landscape photography, Gustave Le Gray shows us the bathing establishments and tourist hotels that dominated the waterfront of this town on the coast of Normandy. Monet focused instead on the more picturesque and timeless beach and fishing boats. Le Gray\u2019s image is distinctly rooted in the present\u2014that is, the present of 1856\u2014in a way that seems shockingly modern.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247119"], "internet_archive": ["https://archive.org/details/clevelandart-2022.35-view-of-ste-adrese-b"]}, "citations": [], "url": "https://clevelandart.org/art/2022.35", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.35/2022.35_web.jpg", "width": "900", "height": "720", "filesize": "274059", "filename": "2022.35_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.35/2022.35_print.jpg", "width": "3400", "height": "2720", "filesize": "3367667", "filename": "2022.35_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.35/2022.35_full.tif", "width": "11666", "height": "9333", "filesize": "326666809", "filename": "2022.35_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/2022.35/2022.35_alt0_web.jpg", "width": "900", "height": "720", "filesize": "174831"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.35/2022.35_alt0_print.jpg", "width": "3400", "height": "2720", "filesize": "2641574"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.35/2022.35_alt0_full.tif", "width": "11666", "height": "9333", "filesize": "326663829"}, "date_created": "2022-04-13T15:59:09", "annotation": ""}], "creditline": "Gift of Michael Mattis and Judith Hochberg", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 452654, "creators": [{"id": 568, "description": "Gustave Le Gray (French, 1820\u20131884)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gustave Le Gray French, 1820-1884\r\n\r\nA master both technically and aesthetically, Gustave Le Gray (born in Villiers-le-Bel) was one of the most important figures in 19th-century French photography, bringing to the medium artistic integrity and visual imagination. Le Gray, trained as a painter, was exhibiting his work in the Paris Salons in the late 1840s and early 1850s when he became interested in photography. Along with Henri Le Secq and Charles N\u00e8gre, he was a student of Paul Delaroche, a painter of considerable reputation and ability who was one of the first to grasp the importance of photography.\r\n\tIn 1851 Le Gray announced his invention of a waxed paper negative, a significant improvement over earlier paper methods that was later adopted by Louis de Clercq, Dr. August Jakob Lorent, and others. That same year the Commission des Monuments historiques named him as one of five photographers of the Mission h\u00e9liographique, for which he produced well-known studies of army maneuvers at Chalons. Le Gray also worked with Fran\u00e7ois Arago, the scientist and champion of Louis-Jacques-Mand\u00e9 Daguerre, and later proposed a new method of toning prints, among other innovations.\r\n\tLe Gray was perhaps most admired for the effects he achieved with water and sky. To capture the subtle qualities of cloud patterns in some of his seascapes, he employed two negatives to produce the final image. His commissioned studies of historic monuments are classic examples of early architectural photography. In the early 1850s he worked in the Barbizon tradition at Fontainebleau and, in 1860, documented the uprising against Fran\u00e7ois II in Palermo. He was a founding member of the Soci\u00e9t\u00e9 h\u00e9liographique and the Soci\u00e9t\u00e9 fran\u00e7aise de photographie. Despite his influence and artistic success, Le Gray left Paris in 1865 to become a professor of design at the \u00c9cole Polytechnique in Cairo. He died in Egypt. T.W.F.", "name_in_original_language": null, "birth_year": "1820", "death_year": "1884", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-03-07T05:00:00Z", "sortable_date": 1856, "date_added_to_oa": null, "date_text": "1856", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Temple of Athene Nike. Venus Victrix--Wingless Victory"], "is_highlight": false, "updated_at": "2026-05-29 09:04:09.045000"}, {"id": 128363, "accession_number": "1951.323", "share_license_status": "CC0", "tombstone": "Villerville Seen from Le Ratier, 1855. Charles Fran\u00e7ois Daubigny (French, 1817\u20131878). Oil on fabric; framed: 80 x 141.5 x 7.5 cm (31 1/2 x 55 11/16 x 2 15/16 in.); unframed: 54.2 x 116.2 cm (21 5/16 x 45 3/4 in.). The Cleveland Museum of Art, Bequest of William G. Mather, 1951.323", "current_location": "220 19th Century European", "title": "Villerville Seen from Le Ratier", "creation_date": "1855", "creation_date_earliest": 1855, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 80 x 141.5 x 7.5 cm (31 1/2 x 55 11/16 x 2 15/16 in.); Unframed: 54.2 x 116.2 cm (21 5/16 x 45 3/4 in.)", "dimensions": {"framed": {"height": 0.8, "height_inch": 31, "height_inch_fraction": 0.5, "width": 1.415, "width_inch": 55, "width_inch_fraction": 0.6875, "depth": 0.075, "depth_inch": 2, "depth_inch_fraction": 0.9375}, "unframed": {"height": 0.542, "height_inch": 21, "height_inch_fraction": 0.3125, "width": 1.162, "width_inch": 45, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in lower right: Daubigny 1855\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520451, "title": "Charles Daubigny", "description": "<i>Charles Daubigny</i>. Paine Art Center and Gardens, Oshkosh, WI (organizer) (May 1-31, 1964); The Gallery of Modern Art, New York, NY (June 16-August 2, 1964).", "opening_date": "1964-05-01T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 224215, "title": "The Draw of the Normandy Coast", "description": "<i>The Draw of the Normandy Coast</i>. Portland Museum of Art, Portland, ME (organizer) (June 14-September 2, 2012).", "opening_date": "2012-06-14T00:00:00"}], "legacy": [{"description": "Louis Martinet, Boulevard des Italiens. Paris, France (January 1862).", "opening_date": null}, {"description": "<em>Cleveland Art Loan Exposition under the Auspices of the Cleveland School of Art</em>. Kinney and Levan Building, Cleveland, OH (1913).", "opening_date": "1913-01-01T00:00:00"}, {"description": "<em>Barbizon Revisited</em>. California Palace of the Legion of Honor, San Francisco, CA; Toledo Museum of Art, Toledo, OH; The Cleveland Museum of Art, Cleveland, OH; Museum of Fine Arts, Boston, MA (1962-63).", "opening_date": "1962-01-01T00:00:00"}, {"description": "<em>First American Retrospective Exhibition of Paintings, Drawings and Prints by Charles Fran\u00e7ois Daubigny.</em> Paine Art Center and Arboretum, Oshkosh, WI; Gallery of Modern Art, New York, NY (1964).", "opening_date": "1964-01-01T00:00:00"}]}, "provenance": [{"description": "Bought from the artist in 1878 by Count Armand Doria [1824-1896] Paris, France, for ff 2,500.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Galerie Heinemann, Munich, Germany, December 1912, sold to C.A. Platt for William G. Mather)", "citations": [], "footnotes": [], "date": "1912", "sortorder": 2}, {"description": "William G. Mather [1857-1951] Cleveland, OH, bequethed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1912-1951", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Daubigny turned his boat, <em>Le Botin</em> (Little Box), into a studio where he painted while cruising the Seine, Marne, and Oise rivers in France.", "early_education_description": null, "artlens_description": null, "description": "The town of Villerville on the Normandy coast appears just to the right of center in this expansive landscape by Daubigny, a pioneer of outdoor painting and a major influence on Claude Monet and the Impressionists. Daubigny introduced a new kind of natural landscape based on outdoor studies of light, water, and atmospheric conditions. Here, streaks of bright light along the horizon set off the dark masses of the rocky shore in the foreground.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515831"], "internet_archive": ["https://archive.org/details/clevelandart-1951.323-villerville-seen-fro"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "<em>Katalog franzo\u0308sischer und altspanischer Meister: permanente Ausstellung von Werken erstklassiger deutscher, franzo\u0308sischer, altenglischer und altspanischer Meister.</em> Galerie Heinemann; (Mu\u0308nchen). 1914.", "page_number": "Reproduced: unpaginated", "url": null}, {"citation": "Francis, Henry S. \"Bequest of William G. Mather: Paintaings.\" <em>The Bulletin of The Cleveland Museum of Art XXXVIII</em> no. 8 (October, 1951):197-198.", "page_number": "Mentioned: p. 198", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d September 26, 1951, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0030"}, {"citation": "\"Mather Bequest to Cleveland.\" <em>Art Digest </em>26 (October 15, 1951): 10.", "page_number": "Mentioned: P. 10", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. 1955.", "page_number": "Reproduced: p. 161, vol. 2", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 496", "url": "https://archive.org/details/CMAHandbook1958/page/n91"}, {"citation": "Gregg, Richard N. \"Charles Francois Daubigny, Forerunner of Impressionism.\" <em>Antiques</em> 85 (May 1964): 548-551.", "page_number": "Reproduced: P. 550", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 169", "url": "https://archive.org/details/CMAHandbook1966/page/n193"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 169", "url": "https://archive.org/details/CMAHandbook1969/page/n193"}, {"citation": "Fidell-Beaufort, Madeleine, Charles Franc\u0327ois Daubigny, and Janine Bailly-Herzberg. <em>Daubigny</em>. Paris, France: Geoffroy-Dechaume, 1975.", "page_number": "Reproduced: p. 122, fig. 38", "url": null}, {"citation": "Hellebranth, Robert. <em>Charles-Franc\u0327ois Daubigny: 1817-1878</em>. Morges, Switzerland: Matute, 1976.", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 209", "url": "https://archive.org/details/CMAHandbook1978/page/n229"}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: P. 52", "url": null}, {"citation": "Hellebranth, Robert and Anne Hellebranth. <em>Charles-Franc\u0327ois Daubigny, 1817-1878</em>. France: [publisher not identified], 1996.", "page_number": null, "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 67", "url": null}, {"citation": "Burgess, Margaret E., Frances Fowle, and Richard Kendall. <em>The Draw of the Normandy Coast: 1860-1960</em>. Portland, ME: The Portland Museum of Art, 2012.", "page_number": "Reproduced: p. 22, fig. 6", "url": null}, {"citation": "Clarke, Michael, Frances Fowle, Lynne Ambrosini, Maite van Dijk, Nienke Bakker, and Rene\u0301 Boitelle. <em>Inspiring Impressionism: Daubigny, Monet, Van Gogh</em>. Edinburgh, Scotland: National Galleries of Scotland, 2015.", "page_number": "Mentioned and reproduced: P. 84-85, no. 75", "url": null}], "url": "https://clevelandart.org/art/1951.323", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.323/1951.323_web.jpg", "width": "1263", "height": "588", "filesize": "470851", "filename": "1951.323_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.323/1951.323_print.jpg", "width": "3400", "height": "1582", "filesize": "3570564", "filename": "1951.323_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.323/1951.323_full.tif", "width": "6105", "height": "2841", "filesize": "52063348", "filename": "1951.323_full.tif"}}, "alternate_images": [], "creditline": "Bequest of William G. Mather", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 128363, "creators": [{"id": 1626, "description": "Charles Fran\u00e7ois Daubigny (French, 1817\u20131878)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a painter, Charles Fran\u00e7ois Daubigny received his initial training from his father, Edmond Fran\u00e7ois Daubigny (1789-1843), a student of Bertin (q.v.). Daubigny's uncle, Pierre, and his uncle's wife were also painters. In order to finance a trip to Italy, Daubigny began painting decorative panels for the Mus\u00e9e de Versailles. By 1835 he had earned enough money for the excursion and, accompanied by Henri Mignon, traveled through Rome, Florence, Pisa, and Genoa, studying the Italian country-side. Upon his return to Paris in 1836 Daubigny began working for Granet (q.v.) in the paintings restoration depart-ment of the Louvre. He made his Salon debut two years later and would regularly show there until 1868. During this time he also learned etching, and it became a good source of income while still allowing him time to paint. Daubigny began to travel often, to Normandy in 1842, to the forest of Fontainebleau and on to Burgundy in 1843. He became friends with Corot (q.v.), and the two artists painted together in Switzerland and the Dauphin\u00e9. In 1857 Daubigny bought a boat that he converted into a studio and used to explore the Oise, Marne, and Seine rivers. The boat allowed him freedom to choose the best viewpoints for his landscapes, an idea that Monet (q.v.) would adopt years later. Daubigny achieved some financial success, received the Legion of Honor in 1859, and a year later built a home and studio in Auvers. In 1861, however, he was criticized because his works were becoming darker and sketchier. He was, in fact, one of the earliest artists to become interested in capturing the changing quality of nature by using light, rapid brush strokes.\r\nWhile experimenting with painting, Daubigny continued his interest in printmaking. In 1862 he participated in an exhibit funded by Cadart, a print publisher and dealer. The exhibition concerned artists who considered printmaking a legitimate art in itself, not a medium for simple reproduction. Cadart became Daubigny's exclusive publisher. Along with Corot, Daubigny also experimented with the clich\u00e9 verre technique. He continued to travel, in Brittany in 1867 and Spain in 1868-69. He was also supportive of other artists. As a member of the Salon jury of 1868, he was instrumental in having the works of Degas (q.v.), Morisot (q.v.), Pissarro (q.v.), Renoir (q.v.), Sisley (q.v.), Monet, and Fr\u00e9d\u00e9ric Bazille (1841-1870) accepted. Daubigny moved to London in 1870 to escape the Franco-Prussian War. There he introduced Pissarro and Monet to Paul Durand-Ruel, his art dealer, who had opened a gallery in London. Daubigny returned to Paris after the war, traveling around the French countryside until the end of his life.", "name_in_original_language": null, "birth_year": "1817", "death_year": "1878", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-07-26T00:00:00", "sortable_date": 1855, "date_added_to_oa": null, "date_text": "1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Coast near Villerville"], "is_highlight": false, "updated_at": "2026-05-29 06:37:33.922000"}, {"id": 444535, "accession_number": "2021.134", "share_license_status": "CC0", "tombstone": "Portrait of Renoir, 1867. Fr\u00e9d\u00e9ric Bazille (French, 1841\u20131870). Oil on canvas; unframed: 40.5 x 32.5 cm (15 15/16 x 12 13/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2021.134", "current_location": null, "title": "Portrait of Renoir", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": ["male"], "culture": ["France"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 40.5 x 32.5 cm (15 15/16 x 12 13/16 in.)", "dimensions": {"unframed": {"height": 0.405, "height_inch": 15, "height_inch_fraction": 0.9375, "width": 0.325, "width_inch": 12, "width_inch_fraction": 0.8125}, "framed": {"height": 0.543, "height_inch": 21, "height_inch_fraction": 0.375, "width": 0.467, "width_inch": 18, "width_inch_fraction": 0.375, "depth": 0.052, "depth_inch": 2, "depth_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Family of the artist Montpellier, France;", "citations": [], "footnotes": null, "date": "1867\u2013?", "sortorder": 1}, {"description": "Marc Bazille, brother of the artist, Montpellier, France;", "citations": [], "footnotes": null, "date": "after 1867\u2013?", "sortorder": 2}, {"description": "to his son, Andr\u00e9 Bazille, the artist's nephew, Montpellier, France;", "citations": [], "footnotes": null, "date": "after 1867\u2013?", "sortorder": 3}, {"description": "to his daughter, Madame Jean Rachou (n\u00e9e Andr\u00e9 Bazille), the artist's nephew\u2019s daughter;", "citations": [], "footnotes": null, "date": "c. 1870\u2013probably c. 1960", "sortorder": 4}, {"description": "Private collection, France, acquired from Madame Jean Rachou (n\u00e9e Andr\u00e9 Bazille),\nMontpellier, France;", "citations": [], "footnotes": null, "date": "probably c. 1960\u2013?", "sortorder": 5}, {"description": "Private Collection, France, by descent from the above;", "citations": [], "footnotes": null, "date": "after 1960\u2013before 2017", "sortorder": 6}, {"description": "Private collection, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2017\u20132021", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021\u2013", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Born to a wealthy family in Montpellier, France, Bazille came to Paris to study medicine and provided crucial financial support to his friends Claude Monet and Pierre-August Renoir.", "early_education_description": null, "artlens_description": null, "description": "Fr\u00e9d\u00e9ric Bazille painted this charming, poignant portrait of his close friend and fellow Impressionist Pierre-Auguste Renoir at a time when he was sharing his studio with Renoir and Claude Monet. Although Bazille played an important role in the early development of Impressionism, he is not as well-known as his colleagues due to his early death at age 28 while serving in the French army during the Franco-Prussian War of 1870.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246887", "https://www.wikidata.org/wiki/Q108929078"], "internet_archive": ["https://archive.org/details/clevelandart-2021.134-portrait-of-renoir"]}, "citations": [{"citation": "Schulman, Michel, and Fre\u0301de\u0301ric Bazille. <em>Fre\u0301de\u0301ric Bazille: 1841-1870 : catalogue raisonne\u0301, peintures, dessins, pastels, aquarelles : sa vie, son \u0153uvre, sa correspondance</em>. Paris: Editions de l'amateur, 1995.", "page_number": "Reproduced:  pp. 151-52, no. 31.", "url": ""}, {"citation": "Jeancolas, Claude. Le groupe des Batignolles: les impressionnistes avant l'impressionnisme. Paris: FVW, 2014.", "page_number": "Reproduced:  p. 36.", "url": ""}, {"citation": "Robinson, William H. \u201cPortrait of Renoir.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 4 (Fall 2021): 27-28.", "page_number": "Reproduced: p. 27; Mentioned: p. 27-28", "url": "https://archive.org/details/CMAMM2021-04"}], "url": "https://clevelandart.org/art/2021.134", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_web.jpg", "width": "723", "height": "900", "filesize": "272833", "filename": "2021.134_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_print.jpg", "width": "2730", "height": "3400", "filesize": "3632117", "filename": "2021.134_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_full.tif", "width": "9358", "height": "11654", "filesize": "327200384", "filename": "2021.134_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_alt0_web.jpg", "width": "752", "height": "900", "filesize": "306989"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_alt0_print.jpg", "width": "2842", "height": "3400", "filesize": "4237393"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_alt0_full.tif", "width": "10211", "height": "12216", "filesize": "374238868"}, "date_created": "2021-12-29T16:27:28", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_alt1_web.jpg", "width": "715", "height": "900", "filesize": "252314"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_alt1_print.jpg", "width": "2701", "height": "3400", "filesize": "2550774"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_alt1_full.tif", "width": "4201", "height": "5289", "filesize": "66683236"}, "date_created": "2021-08-18T12:37:53", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_alt2_web.jpg", "width": "754", "height": "900", "filesize": "298322"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_alt2_print.jpg", "width": "2847", "height": "3400", "filesize": "2917805"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_alt2_full.tif", "width": "7098", "height": "8477", "filesize": "180536456"}, "date_created": "2021-08-18T12:37:53", "annotation": ""}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 444535, "creators": [{"id": 37223, "description": "Fr\u00e9d\u00e9ric Bazille (French, 1841\u20131870)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1841", "death_year": "1870", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-10-07 19:47:15.908000"}, {"id": 92480, "accession_number": "2020.116", "share_license_status": "CC0", "tombstone": "Seascape with Open Sky, 1860. Eug\u00e8ne Boudin (French, 1824\u20131898). Pastel on gray wove paper mounted on thin paperboard; sheet: 21.5 x 28.7 cm (8 7/16 x 11 5/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.116", "current_location": null, "title": "Seascape with Open Sky", "creation_date": "1860", "creation_date_earliest": 1860, "creation_date_latest": 1860, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pastel on gray wove paper mounted on thin paperboard", "support_materials": [{"description": "cardboard", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 21.5 x 28.7 cm (8 7/16 x 11 5/16 in.)", "dimensions": {"sheet": {"height": 0.215, "height_inch": 8, "height_inch_fraction": 0.4375, "width": 0.287, "width_inch": 11, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left, in black chalk: - 1860 -; stamped, lower right, in blue ink: artist\u2019s stamp [Lugt 828]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>R\u00e9trospective Eug\u00e8ne Boudin</em>. Osaka City Museum of Fine Arts (June 7\u201319, 1996); Hiroshima Museum of Art (June 29\u2013August 11, 1996); Kagoshima City Art Museum (August 21\u2013September 16, 1996); Chiba City Art Museum (October 2\u201327, 1996); Shizuoka City Art Museum (November 10\u2013December 15, 1996).", "opening_date": "1996-08-11T00:00:00"}, {"description": "<em>Eug\u00e8ne Boudin: Antesala del impresionismo</em>. Museo Nacional de Colombia, Bogot\u00e1 (May 7\u2013June 28, 1998); Suramericana de Seguros, Medell\u00edn, Colombia (July 5\u2013August 30, 1998).", "opening_date": "1998-06-28T00:00:00"}, {"description": "<em>Eug\u00e8ne Boudin (1824\u20131898): Impressionist der ersten Stunde</em>. Stiftung Langmatt Sidney und Jenny Brown, Baden (April 1\u2013June 25, 2000); Fondation de l\u2019Hermitage, Lausanne (July 7\u2013October 15, 2000).", "opening_date": "2000-06-25T00:00:00"}]}, "provenance": [{"description": "Studio of the artist [1824-1898; Lugt 828]", "citations": [], "footnotes": null, "date": "1860-1898", "sortorder": 1}, {"description": "(his posthumous studio sale, Hotel Drouot, Paris, March 20-21, 1899, probably one of nos. 243\u201354)", "citations": [], "footnotes": ["<div><!--block-->Given the presence of Boudin's studio stamp (Lugt 828), presumably one of numerous lots sold as \"<em>\u00c9tude de ciel </em>(pastel).\"</div>"], "date": "1899", "sortorder": 2}, {"description": "Dr. Gustav Rau [1922-2002], Stuttgart", "citations": [], "footnotes": [], "date": "?-2002", "sortorder": 4}, {"description": "(his sale, Kunsthaus Lempertz, Cologne, May 25, 2013, no. 650, for the UNICEF Germany Foundation, sold to Le Claire Kunst, Hamburg)", "citations": [], "footnotes": [], "date": "2013", "sortorder": 5}, {"description": "(Le Claire Kunst, Hamburg, sold to Nancy F. and Joseph P. Keithley, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "2013-2014", "sortorder": 6}, {"description": "Nancy F. and Joseph P. Keithley, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014-2020", "sortorder": 7}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The well-known Parisian critic and writer Charles Baudelaire singled out Eug\u00e8ne Boudin's seascape pastels in a review published around the time this work was made, describing them as characterized by \"meteorological beauty.\"", "early_education_description": null, "artlens_description": null, "description": "Eug\u00e8ne Boudin is best known for inspiring Impressionist artists, especially a young Claude Monet, to paint outdoors. This drawing belongs to a series that Boudin made throughout much of his career depicting seascapes with dramatic skylines onsite. He favored pastel, the powdery medium used here, for its portability and directness, allowing him to capture the dramatic effects of nature as they shifted.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481121"], "internet_archive": ["https://archive.org/details/clevelandart-2020.116-seascape-with-open-s"]}, "citations": [{"citation": "<em>Atelier Eug\u00e8ne Boudin: Catalogue des Tableaux, Pastels, Aquarelles et Dessins</em> (Paris: H\u00f4tel Drouot, 1899).", "page_number": "Mentioned: 62\u201363, nos. 243\u201354 (presumably one of numerous pastels sold as \u00c9tude de ciel).", "url": ""}, {"citation": "<em>R\u00e9trospective Eug\u00e8ne Boudin</em>. Exh. Cat. Osaka: Mus\u00e9e d'Art de Kintsu, 1996.", "page_number": "Mentioned and reproduced: p. 114, no. 3", "url": ""}, {"citation": "<em>Eug\u00e8ne Boudin, 1824-1898: Antesala del impresionismo</em>. Exh. Cat. Bogota\u0301: Museo Nacional de Colombia, 1998.", "page_number": "Mentioned and reproduced: p. 20, no. 9", "url": ""}, {"citation": "Koella, Rudolf. <em>Eug\u00e8ne Boudin (1824-1898): Impressionist der ersten Stunde</em>. Exh. Cat. Baden: Stiftung Langmatt Sidney und Jenny Brown, 2000.", "page_number": "Mentioned: p. 172, no. 65; Reproduced: p. 105", "url": ""}, {"citation": "Brown, Heather Lemonedes. \"Boudin and Matisse.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 58-59, 140-141. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 58-59; Mentioned: p. 257", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 102-103, no. 12", "url": ""}, {"citation": "Spinazze\u0300, Sabrina. \"Internazionalita di Michetti. Contatti, Scambi, Influenze e Convergenze con John Singer Sargent, Wilhelm von Gloeden, James Abbott McNeil Whistler ed Edgar Degas.\" In <em>Francesco Paolo Michetti: Catalogo Generale. </em>Edited by Fabio Benzi, Gianluca Berardi, Teresa Sacchi Lodispoto, and Sabrina Spinazze\u0300, 37-55. Cinisello Balsamo, Milano: Silvana Editoriale, 2024.", "page_number": "Mentioned and reproduced: p. 52-53, fig. 40, Vol. 2", "url": ""}, {"citation": "Rehahn. <em>Impressionism : From Photography to Painting</em>. \u0110\u1ed3ng Nai, Vietnam: Nh\u00e0 xu\u1ea5t b\u1ea3n \u0110\u1ed3ng Nai, 2024.", "page_number": "Reproduced: p. 21, no.7", "url": ""}, {"citation": "<em>Suivre Les Nuages Le Pinceau \u00c0 La Main: Correspondances, 1861-1898 d\u2019Eug\u00e8ne Boudin</em>. Edited by Laurent Manoeuvre and Archives Durand-Ruel. [Strasbourg]: L\u2019Atelier contemporain, Fran\u00e7ois-Marie Deyrolle \u00e9diteur, 2025.", "page_number": "Reproduced: p. 3 of color plate section", "url": ""}], "url": "https://clevelandart.org/art/2020.116", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_web.jpg", "width": "900", "height": "679", "filesize": "318062", "filename": "2020.116_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_print.jpg", "width": "3400", "height": "2565", "filesize": "4217827", "filename": "2020.116_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_full.tif", "width": "9879", "height": "7454", "filesize": "220942292", "filename": "2020.116_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_alt0_web.jpg", "width": "900", "height": "679", "filesize": "318062"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_alt0_print.jpg", "width": "3400", "height": "2565", "filesize": "4217827"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_alt0_full.tif", "width": "9879", "height": "7454", "filesize": "220942292"}, "date_created": "2020-02-21T15:55:09", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_alt1_web.jpg", "width": "900", "height": "679", "filesize": "390094"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_alt1_print.jpg", "width": "3400", "height": "2565", "filesize": "5723656"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_alt1_full.tif", "width": "9879", "height": "7454", "filesize": "220941068"}, "date_created": "2020-02-21T15:56:30", "annotation": ""}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 92480, "creators": [{"id": 1568, "description": "Eug\u00e8ne Boudin (French, 1824\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Boudin is traditionally presented in literature as a self-taught artist, independent of the Parisian art world whose works, painted out of doors in a sketchy, light-hued style, foreshadowed impressionism.1 Recent scholarship has tempered this interpretation of the artist, but it conserves his importance to contemporaneous artistic concerns of modernity, the notion of \"finish,\" the relationship between the French city and countryside, and the marketing of art works.2 Raised by parents who worked on steamers, Boudin grew up in Le Havre on the Normandy coast. At the age of twenty, he and an associate established their own framing and stationery shop where they regularly served artists. In 1847 Boudin went to Paris to study art and made contacts with artists such as Couture (q.v.), who helped him win a three-year study grant in 1850 from the municipal council of Le Havre, and Constant Troyon (1810-1865). But it was along the Normandy coast, not in Paris, where Boudin first met painters Ribot (q.v.) in 1851, Monet (q.v.) in 1858, and Courbet (q.v.) in 1859 and art critic Charles Baudelaire in 1859 and painted in a coarse realist style. Boudin spent each winter, roughly November to May, in Paris, working in his studio. He spent the summer season, lasting from two to five months, making pictures on the Normandy coast or in the Breton landscape. In 1860 he began to paint scenes of fashionable society at the beach resorts of Trouville (The Beach at Trouville, Minneapolis Institute of Arts) and Deauville. At first his work attracted little critical notice, but Baudelaire praised his pastels in a review of the 1859 Salon where Boudin made his debut.4 By 1869 Boudin and his art came to be identified with the Normandy coast.5 After 1870 Boudin increasingly turned away from beach resort subjects to focus on port and harbor views and fisherfolk scenes. In 1881 Boudin entered into a business relationship with the important Parisian art dealer Durand-Ruel, who provided him with a regular income for the rights to his entire production. When Durand-Ruel mounted a one-person exhibition of Boudin's works in 1883, the artist enjoyed financial and critical triumph. Boudin sold his first picture to the French state in 1886 (A Squall, Mus\u00e9e de Morlaix) and his second two years later (The Russian Corvette in the Eure Reservoir, Mus\u00e9e d'Agen). In 1892 he was decorated with the Legion of Honor. Extremely productive until the end of his life, Boudin left more than four thousand paintings and seven thousand works on paper, some of which he or his family bequeathed to the French nation and art museums of Le Havre and Honfleur. The reputation that Boudin quietly established is nowhere better evidenced than in the fact that the retro-spective exhibition of his work (January 1898) was held at the \u00c9cole des Beaux-Arts in Paris, where Boudin never set foot and which had fought, and failed, to privilege history painting over landscape and genre. <br>1. By 1883 art critic Gustave Geffroy had already pronounced that Boudin \"is, together with Corot and Jongkind, one of the immediate precursors of Impressionism. He shows us that impenetrable black does not exist and that air is transparent.\" Cited in trans. in Hamilton 1992, 42. <br>2. See John House, \"Boudin's Modernity,\" in Hamilton 1992, 15-23. <br>3. Courbet first visited Le Havre in 1841, the year he moved to Paris from Ornans. He returned at the time of the 1858 Salon du Havre, to which he contributed, and again in 1859. He is reported to have bought some of Boudin's paintings. In 1865 the two painters socialized together and painted side by side at Trouville. <br>4. The artist exhibited no pastels in the Salon, but Baudelaire might have seen them in the artist's studio or elsewhere. 5. Jules Castagnary, Salon de 1869, cited in trans. in Hamilton 1992, 59.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "1860", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-10-15 11:29:43.387000"}, {"id": 120286, "accession_number": "1941.14", "share_license_status": "CC0", "tombstone": "Roses in a Vase, c. 1890. Pierre-Auguste Renoir (French, 1841\u20131919). Oil on fabric; unframed: 25.5 x 34 cm (10 1/16 x 13 3/8 in.). The Cleveland Museum of Art, Gift of Mrs. Henry White Cannon, 1941.14", "current_location": null, "title": "Roses in a Vase", "creation_date": "c. 1890", "creation_date_earliest": 1890, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 25.5 x 34 cm (10 1/16 x 13 3/8 in.)", "dimensions": {"unframed": {"height": 0.255, "height_inch": 10, "height_inch_fraction": 0.0625, "width": 0.34, "width_inch": 13, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Renoir \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 300822, "title": "Horticulture Motifs in Art", "description": "<i>Horticulture Motifs in Art</i>. The Cleveland Museum of Art, Cleveland, OH (March 9-April 24, 1955).", "opening_date": "1955-03-09T05:00:00"}], "legacy": [{"description": "Worcester Art Museum, Worcester, MA (June 1, 1932-June 1, 1934).", "opening_date": "1932-06-01T00:00:00"}, {"description": "<em>Exhibition of Still Life Paintings, Seventeenth to Nineteenth Century. </em>Allen Memorial Art Museum, Oberlin, OH (1945).", "opening_date": "1945-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Renoir</em>. Wildenstein, New York, NY (March 23-April 29, 1950).", "opening_date": "1950-03-23T00:00:00"}]}, "provenance": [{"description": "Marcel Bernheim, Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "G. Tanner [1880-1958], Zurich, Switzerland", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Josef Stransky [1872-1936], New York", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "(Wildenstein, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "Mrs. Henry White Cannon [ca.1861-1954], New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1941", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1941-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Renoir was an excellent singer who wanted to be a musician, but for financial reasons left school at age thirteen to work as an apprentice painter in a porcelain factory.", "early_education_description": null, "artlens_description": null, "description": "The palette Renoir used to depict the seven roses in this still life ranges from various shades of red to warm whites, light yellows, and pinks. The artist declared, \"'Painting flowers lets my brain rest. It does not cause the same tension of spirit as when I face a model. When I paint flowers, I put down tones, I boldly try values, without having to worry about losing a canvas.'\" He was particularly fond of roses, whose full, rounded shapes he likened to the female body. In 1861, Renoir met Claude Monet (1840\u20131926) and later shared a studio with him. Monet became an important influence on Renoir's art, as can be seen here in the rapid brush strokes, thinly scuffled background, and buildup of paint (impasto) in the blooms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514423"], "internet_archive": ["https://archive.org/details/clevelandart-1941.14-roses-in-a-vase"]}, "citations": [{"citation": "Flint, Ralph. \"The Private Collection of Josef Stransky.\" <em>Art News 19</em> (May 16, 1931): 87-88.", "page_number": "Reproduced: p. 95; Mentioned: p. 87-88", "url": null}, {"citation": "Milliken, William. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art </em>28, no.6 (June 1941): 88-108", "page_number": "Mentioned: p. 86; Reproduced: p. 107", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "Allen Memorial Art Museum. \"Exhibition of Still Life Paintings, Seventeenth to Nineteenth Century.\" <em>Bulletin 2, </em>no. 1Oberlin, OH: Dept. of Fine Arts of Oberlin College, (1945):8.", "page_number": "Reproduced: p. 8", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 35", "url": "https://archive.org/details/CMAPaintings1945/page/n43"}, {"citation": "Wildenstein and Company (New York, N.Y.), and Daniel Wildenstein. <em>A Loan Exhibition of Renoir for the Benefit of the New York Infirmary, March 23-April 29, 1950 at Wildenstein</em>. New York, NY:1950.", "page_number": "Reproduced: no. 73", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 195", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of t he 19th Century</em>. Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 188", "url": null}], "url": "https://clevelandart.org/art/1941.14", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_web.jpg", "width": "900", "height": "654", "filesize": "261361", "filename": "1941.14_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_print.jpg", "width": "3400", "height": "2469", "filesize": "3692212", "filename": "1941.14_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_full.tif", "width": "14577", "height": "10586", "filesize": "462967104", "filename": "1941.14_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt0_web.jpg", "width": "900", "height": "735", "filesize": "322412"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt0_print.jpg", "width": "3400", "height": "2777", "filesize": "4065671"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt0_full.tif", "width": "8960", "height": "7317", "filesize": "196711140"}, "date_created": "2017-05-09T15:42:09", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt1_web.jpg", "width": "900", "height": "668", "filesize": "313219"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt1_print.jpg", "width": "3400", "height": "2525", "filesize": "4005048"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt1_full.tif", "width": "6973", "height": "5179", "filesize": "108369440"}, "date_created": "2017-05-09T15:42:09", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt2_web.jpg", "width": "1220", "height": "893", "filesize": "268070"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt2_print.jpg", "width": "3400", "height": "2488", "filesize": "2130832"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt2_full.tif", "width": "6881", "height": "5036", "filesize": "103981808"}, "date_created": "2013-07-31T14:51:00", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt3_web.jpg", "width": "1214", "height": "893", "filesize": "263480"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt3_print.jpg", "width": "3400", "height": "2502", "filesize": "2226167"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt3_full.tif", "width": "7126", "height": "5244", "filesize": "112130020"}, "date_created": "2013-07-31T14:59:18", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt4_web.jpg", "width": "1226", "height": "893", "filesize": "988380"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt4_print.jpg", "width": "2048", "height": "1492", "filesize": "2829924"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_alt4_full.tif", "width": "2048", "height": "1492", "filesize": "9170012"}, "annotation": ""}], "creditline": "Gift of Mrs. Henry White Cannon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120286, "creators": [{"id": 1765, "description": "Pierre-Auguste Renoir (French, 1841\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": "Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Fr\u00e8res &amp; Cie. He earned money by painting fans, blinds, and murals for caf\u00e9s. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Fr\u00e9d\u00e9ric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the \u00c9cole des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Pe\u00f1a (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouill\u00e8re (all four titled La grenouill\u00e8re, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at H\u00f4tel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Mus\u00e9e d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined C\u00e9zanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-04-28T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1890", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 06:12:52.702000"}, {"id": 138430, "accession_number": "1962.35", "share_license_status": "CC0", "tombstone": "Lormes:  Goat-Girl Sitting Beside a Stream in a Forest, 1842. Jean Baptiste Camille Corot (French, 1796\u20131875). Oil on fabric; unframed: 52.3 x 70.3 cm (20 9/16 x 27 11/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1962.35", "current_location": null, "title": "Lormes:  Goat-Girl Sitting Beside a Stream in a Forest", "creation_date": "1842", "creation_date_earliest": 1842, "creation_date_latest": 1842, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 52.3 x 70.3 cm (20 9/16 x 27 11/16 in.)", "dimensions": {"unframed": {"height": 0.523, "height_inch": 20, "height_inch_fraction": 0.5625, "width": 0.703, "width_inch": 27, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Corot 1842\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 380187, "title": "Jean-Baptiste Camille Corot", "description": "<i>Jean-Baptiste Camille Corot</i>. R\u00e9union des mus\u00e9es nationaux - Grand Palais (organizer) (February 27-May 27, 1996); National Gallery of Canada (June 20-September 22, 1996); The Metropolitan Museum of Art (October 21, 1996-January 19, 1997).", "opening_date": "1996-02-27T05:00:00"}], "legacy": [{"description": "Possibly Pau, Mus\u00e9e des Beaux-Arts. Exposition de la soci\u00e9t\u00e9 des amis des arts de Pau (1872), 82, Une figure (handwritten: 500), according to Robaut.", "opening_date": null}, {"description": "New York, Wildenstein. The Serene World of Corot (1942), no. 21 (repr.), lent by Wildenstein &amp; Co.", "opening_date": "1942-01-01T00:00:00"}, {"description": "Philadelphia Museum of Art. Corot 1796-1875 (1946), no. 22 (repr.), lent by Wildenstein &amp; Co.", "opening_date": "1946-01-01T00:00:00"}, {"description": "Art Gallery of Toronto. J. B. C. Corot 1796-1875 (1950), no. 11, Lormes, Goat Girl Beside a Stream, Lent by Wildenstein &amp; Co.", "opening_date": "1950-01-01T00:00:00"}, {"description": "Museum of Fine Arts, Houston. Corot and His Contemporaries (1959), 7.", "opening_date": "1959-01-01T00:00:00"}, {"description": "Art Institute of Chicago. Corot 1796-1875 (1960), no. 56, lent by J. K. Thannhauser, New York.", "opening_date": "1960-01-01T00:00:00"}, {"description": "Manchester, N.H., Currier Gallery of Art; New York, IBM Gallery of Science and Art; Dallas Museum of Art; Atlanta, High Museum of Art. The Rise of Landscape Painting in France-Corot to Monet (1991-92), 226, no. 18 (repr.), 121.", "opening_date": "1991-01-01T00:00:00"}, {"description": "Paris, Grand Palais; Ottawa, National Gallery of Canada; New York, Metropolitan Museum of Art. Corot 1796-1875 (1996-97), no. 79, 293 (repr.).", "opening_date": "1996-01-01T00:00:00"}]}, "provenance": [{"description": "Paris sale, Drouot salle 3, 29 March 1878 (lot 15), Paysanne pr\u00e8s d'une source, dans la for\u00eat de Fontainebleau, ff 1,300.", "citations": [], "footnotes": null, "date": "March 28, 1878", "sortorder": null}, {"description": "Hugo Nathan, Frankfurt, Germany", "citations": [], "footnotes": null, "date": "after 1878\u2013by 1942", "sortorder": 2}, {"description": "Wildenstein & Co., New York, by 1942.", "citations": [], "footnotes": null, "date": "by 1942\u2013before 1960", "sortorder": 3}, {"description": "J. K. Thannhauser, New York, NY, by 1960", "citations": [], "footnotes": null, "date": "by 1960\u2013by 1962", "sortorder": 4}, {"description": "Sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1962", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1962\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Claude Monet once said: \"There is only one master here\u2014Corot. We are nothing compared to him, nothing.\"", "early_education_description": null, "artlens_description": null, "description": "Camille Corot painted this charming woodland scene during the summer of 1842 while visiting Lormes, a small village in the Morvan region of Burgundy. The area was known for its dense woodlands and picturesque falls. Corot included a seated goat shepherd leaning against a curving tree trunk, but instead of commanding the viewers attention, the human presence is overshadowed by the dynamic interlacing forms of the tree trunks and branches that stretch up and across the canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q41516006"], "internet_archive": ["https://archive.org/details/clevelandart-1962.35-lormes-goat-girl-sit"]}, "citations": [{"citation": "Talbot, William S. \u201cSome French Landscapes: 1779-1842.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 3 (March 1978): 75\u201391.", "page_number": "Mentioned and reproduced: p. 89-90, fig.19", "url": "http://www.jstor.org/stable/25159571"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 150-151, Vol. I, no. 56", "url": ""}], "url": "https://clevelandart.org/art/1962.35", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_web.jpg", "width": "1221", "height": "893", "filesize": "730187", "filename": "1962.35_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_print.jpg", "width": "3400", "height": "2487", "filesize": "5038489", "filename": "1962.35_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_full.tif", "width": "4822", "height": "3527", "filesize": "51047084", "filename": "1962.35_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_alt0_web.jpg", "width": "1217", "height": "893", "filesize": "720570"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_alt0_print.jpg", "width": "3400", "height": "2494", "filesize": "5529283"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_alt0_full.tif", "width": "6000", "height": "4402", "filesize": "79267628"}, "date_created": "2007-07-09T15:41:15", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_alt1_web.jpg", "width": "1186", "height": "893", "filesize": "742313"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_alt1_print.jpg", "width": "3400", "height": "2560", "filesize": "5999133"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_alt1_full.tif", "width": "5000", "height": "3764", "filesize": "56486208"}, "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_alt2_web.jpg", "width": "1263", "height": "842", "filesize": "926719"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_alt2_print.jpg", "width": "3400", "height": "2266", "filesize": "6274209"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_alt2_full.tif", "width": "5000", "height": "3333", "filesize": "50021096"}, "annotation": ""}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138430, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1842, "date_added_to_oa": null, "date_text": "1842", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 07:05:32.470000"}, {"id": 665183, "accession_number": "2023.166", "share_license_status": "CC0", "tombstone": "Self-Portrait in a Spanish Costume, 1880. Marie Bracquemond (French, 1840\u20131916). Etching on cream wove paper; platemark: 31 x 27.6 cm (12 3/16 x 10 7/8 in.); sheet: 32.6 x 50 cm (12 13/16 x 19 11/16 in.). The Cleveland Museum of Art, The Jane B. Tripp Charitable Lead Annuity Trust, 2023.166", "current_location": null, "title": "Self-Portrait in a Spanish Costume", "creation_date": "1880", "creation_date_earliest": 1880, "creation_date_latest": 1880, "artists_tags": ["female"], "culture": ["France"], "technique": "etching on cream wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 31 x 27.6 cm (12 3/16 x 10 7/8 in.); Sheet: 32.6 x 50 cm (12 13/16 x 19 11/16 in.)", "dimensions": {"platemark": {"height": 0.31, "height_inch": 12, "height_inch_fraction": 0.1875, "width": 0.276, "width_inch": 10, "width_inch_fraction": 0.875}, "sheet": {"height": 0.326, "height_inch": 12, "height_inch_fraction": 0.8125, "width": 0.5, "width_inch": 19, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed, at lower left, on plate: Marie Bracquemond / LA DAME A L\u2019\u00c9VENTAIL", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Studio of the artist [1840\u20131916], S\u00e8vres, by descent, until 1916", "citations": [], "footnotes": null, "date": "1880\u20131916", "sortorder": 1}, {"description": "Pierre Bracquemond [1870\u20131926], Paris, probably 1916", "citations": [], "footnotes": null, "date": "1916", "sortorder": 2}, {"description": "(sold to Galerie Sagot-Le Garrec, Paris), probably 1916", "citations": [], "footnotes": null, "date": "1916", "sortorder": 3}, {"description": "Edmond Sagot [1857\u20131917], Paris, by descent, probably 1916-1917", "citations": [], "footnotes": null, "date": "1916\u201317", "sortorder": 4}, {"description": "Sagot family collection, Paris, by descent, 1917-2023", "citations": [], "footnotes": null, "date": "1917\u20132023", "sortorder": 5}, {"description": "(sold to Bernard Derroitte, Chicago, IL), 2023", "citations": [], "footnotes": null, "date": "2023", "sortorder": 6}, {"description": "(sold to the Cleveland Museum of Art, Cleveland, OH), 2023-", "citations": [], "footnotes": null, "date": "December 4, 2023\u2013", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although Marie Bracquemond was supported and widely respected by her colleagues in her own time, her husband\u2019s reticence to her pursuing a career ultimately led her to limit her artistic production.", "early_education_description": null, "artlens_description": null, "description": "Marie Bracquemond was among a few women artists within the Impressionist circle. After exhibiting at the Salon from a relatively young age, she married the printmaker F\u00e9lix Bracquemond and met artists such as Claude Monet and Edgar Degas through his friendship with them. This print is one of about ten etchings created by Bracquemond, who presumably learned the medium from her husband and went on to master it. Here, she presents herself posed in fashionable attire, holding a distinctive fan.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q124339706"], "internet_archive": ["https://archive.org/details/clevelandart-2023.166-self-portrait-in-a-s"]}, "citations": [{"citation": "\"Looking Back to Look Forward: A Year in Highlights.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>65, no. 3 (2024): 38.", "page_number": "Reproduced: p. 38", "url": "https://archive.org/details/CMAMM-2024-03"}], "url": "https://clevelandart.org/art/2023.166", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2023.166/2023.166_web.jpg", "width": "900", "height": "598", "filesize": "204002", "filename": "2023.166_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2023.166/2023.166_print.jpg", "width": "3400", "height": "2260", "filesize": "2420024", "filename": "2023.166_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2023.166/2023.166_full.tif", "width": "12736", "height": "8467", "filesize": "323536032", "filename": "2023.166_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/2023.166/2023.166_alt0_web.jpg", "width": "900", "height": "598", "filesize": "178141"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2023.166/2023.166_alt0_print.jpg", "width": "3400", "height": "2260", "filesize": "2291889"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2023.166/2023.166_alt0_full.tif", "width": "12736", "height": "8467", "filesize": "323534980"}, "date_created": "2024-02-21T15:19:25", "annotation": ""}], "creditline": "The Jane B. Tripp Charitable Lead Annuity Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 665183, "creators": [{"id": 665179, "description": "Marie Bracquemond (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "French painter, printmaker, and ceramicist, 1840-1916", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2023-12-04T00:00:00-05:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880", "collapse_artists": false, "on_loan": false, "recently_acquired": true, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 09:13:15.016000"}, {"id": 119703, "accession_number": "1940.540", "share_license_status": "CC0", "tombstone": "Banks of the Seine, not dated. France, 19th century. Oil on fabric; unframed: 32.3 x 55.3 cm (12 11/16 x 21 3/4 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.540", "current_location": null, "title": "Banks of the Seine", "creation_date": "not dated", "creation_date_earliest": 1860, "creation_date_latest": 1900, "artists_tags": [], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 32.3 x 55.3 cm (12 11/16 x 21 3/4 in.)", "dimensions": {"unframed": {"height": 0.323, "height_inch": 12, "height_inch_fraction": 0.6875, "width": 0.553, "width_inch": 21, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: E. Boudin [originally done in brown paint; has been abraded and reinforced in black]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Seine River, especially the mid-Seine valley where Claude Monet lived, is known for being a source of inspiration and subject matter for Impressionist and Post-Impressionist artists.", "early_education_description": null, "artlens_description": null, "description": "Although this scene was once thought to have been painted by Eug\u00e9ne Boudin (1824\u20131898), its creator has yet to be identified.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514389"], "internet_archive": ["https://archive.org/details/clevelandart-1940.540-banks-of-the-seine"]}, "citations": [{"citation": "Francis, Henry. \"The Bequest of James Parmelee.\"<em> The Bulletin of the Cleveland Museum of Art </em>28, no. 2 (February 1941): 15-27.", "page_number": "Mentioned: p. 17", "url": "https://www.jstor.org/stable/25140904"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 650-651, Vol. II, no. 231", "url": ""}], "url": "https://clevelandart.org/art/1940.540", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_web.jpg", "width": "1263", "height": "729", "filesize": "223262", "filename": "1940.540_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_print.jpg", "width": "3400", "height": "1962", "filesize": "1744037", "filename": "1940.540_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_full.tif", "width": "7628", "height": "4402", "filesize": "100759396", "filename": "1940.540_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_alt0_web.jpg", "width": "1263", "height": "738", "filesize": "226551"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_alt0_print.jpg", "width": "3400", "height": "1988", "filesize": "1595798"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_alt0_full.tif", "width": "7870", "height": "4602", "filesize": "108677040"}, "date_created": "2013-08-01T15:57:28", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_alt1_web.jpg", "width": "1263", "height": "723", "filesize": "779334"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_alt1_print.jpg", "width": "2048", "height": "1172", "filesize": "2114772"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_alt1_full.tif", "width": "2048", "height": "1172", "filesize": "7203292"}, "annotation": ""}], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119703, "creators": [], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "not dated", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 06:10:52.502000"}, {"id": 136760, "accession_number": "1961.262", "share_license_status": "CC0", "tombstone": "Saint-Mamm\u00e8s, Loing Canal, 1885. Alfred Sisley (French, 1840\u20131899). Oil on fabric; unframed: 46.6 x 55.8 cm (18 3/8 x 21 15/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Lewis B. Williams from The Blair Trust, 1961.262", "current_location": null, "title": "Saint-Mamm\u00e8s, Loing Canal", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 46.6 x 55.8 cm (18 3/8 x 21 15/16 in.)", "dimensions": {"unframed": {"height": 0.466, "height_inch": 18, "height_inch_fraction": 0.375, "width": 0.558, "width_inch": 21, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Sisley. 85\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 442204, "title": "Paris autour de 1882 (Paris around 1882)", "description": "<i>Paris autour de 1882 (Paris around 1882)</i>. Museum of Fine Arts, Gifu, Gifu City, Japan (organizer) (November 3-December 19, 1982); Museum of Modern Art, Kamakura, Kanagawa, Japan (January 15-February 20, 1983).", "opening_date": "1982-11-03T05:00:00"}, {"id": 442122, "title": "\u30b7\u30b9\u30ec\u30fc\u5c55 (Alfred Sisley Retrospective)", "description": "<i>\u30b7\u30b9\u30ec\u30fc\u5c55 (Alfred Sisley Retrospective)</i>. Isetan Museum, Tokyo, Toyko, Japan (March 7-April 14, 1985); Fukuoka Art Museum, Fukuoka, Japan (April 18-May 12, 1985); Nara Prefectural Museum of Art, Nara, Japan (May 18-June 30, 1985).", "opening_date": "1985-03-07T05:00:00"}, {"id": 441870, "title": "Sisley", "description": "<i>Sisley</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (July 3-October 18, 1992); Mus\u00e9e d'Orsay, Paris, France (October 28, 1992-January 31, 1993); Walters Art Gallery, Baltimore, MD (March 14-June 13, 1993).", "opening_date": "1992-07-03T04:00:00"}], "legacy": [{"description": "New York, Durand-Ruel. Exhibition: Paintings by Sisley (1917), no. 6, St. Mamm\u00e8s.", "opening_date": "1917-01-01T00:00:00"}, {"description": "New York, Durand-Ruel. Exhibition of Paintings by Alfred Sisley (1921), no. 18, St. Mamm\u00e8s.", "opening_date": "1921-01-01T00:00:00"}, {"description": "New York, Durand-Ruel. Exhibition of Paintings by Camille Pissarro and Alfred Sisley (1925), no. 15, St. Mamm\u00e8s.", "opening_date": "1925-01-01T00:00:00"}, {"description": "Gifu (Japan) Museum of Fine Arts; Kamakura, Museum of Modern Art. Paris autour de 1882 (1982-83), no. 89, fig. 89.", "opening_date": "1982-01-01T00:00:00"}, {"description": "Tokyo, Isetan Museum of Art; Fukuoka Art Museum; Nara Prefectural Museum. Retrospective Alfred Sisley (1985), no. 37, 169 (repr.).", "opening_date": "1985-01-01T00:00:00"}, {"description": "London, Royal Academy of Arts; Paris, Mus\u00e9e d'Orsay; Baltimore, Walters Art Gallery. Alfred Sisley (1992-93), 42, fig. 36, 206, 208, no. 57 (repr.), 210.", "opening_date": "1992-01-01T00:00:00"}]}, "provenance": [{"description": "Bought from the artist by Durand-Ruel, Paris (stock number 638) on 21 January 1885. Deposited with Joseph Durand-Ruel, 35 Rue de Rome, on 25 February 1885. Bought from Paul Durand-Ruel by Durand-Ruel, Paris (stock number 1442) on 25 August 1891. Sold to Durand-Ruel, New York (stock number 1888). Sold on 10 November 1926 to Lewis B. Williams, New York. Given to the CMA in 1961.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The son of an affluent British businessman, Alfred Sisley was born in Paris and became friendly with fellow students Claude Monet, Auguste Renoir, and Fr\u00e9d\u00e9ric Bazille while studying in the studio of Charles Gleyre during the early 1860s.", "early_education_description": null, "artlens_description": null, "description": "The small town of Saint-Mamm\u00e8s is located about forty miles south of Paris, where the Seine and Loing rivers are joined by a canal. Alfred Sisley was fond of the area and often painted there in the 1880s, undoubtedly attracted by the low rents, since his poverty had become chronic in the wake of the bankruptcy and death of his father. Sisley rendered this view of the Saint-Mamm\u00e8s-Loring canal with a classic Impressionist technique, using pure color and soft, flickering brushwork that dissolves forms into a haze of optical sensations approximating the effect of brilliant, outdoor light.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465956"], "internet_archive": ["https://archive.org/details/clevelandart-1961.262-saint-mammes-loing-c"]}, "citations": [{"citation": "\u201cAnnual Report for 1961.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 6 (June 1962): 115\u2013145.", "page_number": "Reproduced: Cover", "url": "http://www.jstor.org/stable/25151899"}, {"citation": "Lee, Sherman E. \u201cYear in Review 1962.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 9 (November 1962): 199\u2013227.", "page_number": "Mentioned: p. 225, no. 98", "url": "http://www.jstor.org/stable/25151915"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 172", "url": "https://archive.org/details/CMAHandbook1969/page/n196"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 217", "url": "https://archive.org/details/CMAHandbook1978/page/n237"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 593-595, Vol. II, no. 208", "url": ""}, {"citation": "Sisley, Alfred. Alfred Sisley: catalogue critique des peintures et des pastels. 2021. 256.", "page_number": "Reproduced; p. 256, no. 668.", "url": ""}], "url": "https://clevelandart.org/art/1961.262", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.262/1961.262_web.jpg", "width": "1067", "height": "893", "filesize": "743672", "filename": "1961.262_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.262/1961.262_print.jpg", "width": "3400", "height": "2846", "filesize": "6424837", "filename": "1961.262_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.262/1961.262_full.tif", "width": "4552", "height": "3810", "filesize": "52060824", "filename": "1961.262_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Lewis B. Williams from The Blair Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136760, "creators": [{"id": 1819, "description": "Alfred Sisley (French, 1840\u20131899)", "extent": null, "qualifier": null, "role": "artist", "biography": "Although Alfred Sisley's parents were British and he himself held British citizenship, he spent the majority of his life in France. He was sent to London in 1857 to study business, but he returned to France four years later and resided there the rest of his life. During his stay in London, he probably became familiar with the works of Constable (q.v.) and Turner (q.v.). Sisley entered the studio of the Swiss painter Charles Gleyre (1806-1874) upon his return to Paris, where he met Monet (q.v.), Renoir (q.v.), and Fr\u00e9d\u00e9ric Bazille (1841-1870). He painted with Renoir and Bazille periodically around the Parisian countryside, particularly in the forest of Fontainebleau. His early pieces reflect the influence of Daubigny (q.v.) and Corot (q.v.). Sisley's work was accepted at the Salon of 1866, and he exhibited there occasionally until 1870. During the Franco-Prussian War, he moved from Bougival, which was taken by the Prussians, to Paris. Afterward he went to Louveciennes, where he produced landscapes with looser brushwork. He began to exhibit with the impressionists in 1874, and during the summer he traveled to Hampton Court, making several paintings of the river Thames. In need of money, Sisley participated in the Hotel Drouot sales of 1875 and 1877. In 1880 he moved to Veneux-Nadon, near Moret-sur-Loing, searching for new inspiration in the fresh, remote surroundings, and lived in the area for the rest of his life. There he applied greater texture in the paint surface and more vibrant colors. He created series to study the effects of light and atmosphere on a given location, as had Monet. Sisley never experienced financial or critical success during his lifetime. He died of cancer of the throat, without ever obtaining the French nationality that he so intensely desired.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1899", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 06:58:44.923000"}, {"id": 665182, "accession_number": "2023.165", "share_license_status": "CC0", "tombstone": "Muses of the Arts: Architecture, 1878. Marie Bracquemond (French, 1840\u20131916). Black chalk on pale pink wove paper; matted: 55.9 x 43 cm (22 x 16 15/16 in.); sheet: 38.3 x 26.1 cm (15 1/16 x 10 1/4 in.). The Cleveland Museum of Art, The Jane B. Tripp Charitable Lead Annuity Trust, 2023.165", "current_location": null, "title": "Architecture", "series": "Muses of the Arts", "creation_date": "1878", "creation_date_earliest": 1878, "creation_date_latest": 1878, "artists_tags": ["female"], "culture": ["France"], "technique": "black chalk on pale pink wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Matted: 55.9 x 43 cm (22 x 16 15/16 in.); Sheet: 38.3 x 26.1 cm (15 1/16 x 10 1/4 in.)", "dimensions": {"sheet": {"height": 0.383, "height_inch": 15, "height_inch_fraction": 0.0625, "width": 0.261, "width_inch": 10, "width_inch_fraction": 0.25}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.43, "width_inch": 16, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Studio of the artist [1840\u20131916], S\u00e8vres, by descent, until 1916", "citations": [], "footnotes": null, "date": "1916", "sortorder": 1}, {"description": "Pierre Bracquemond [1870\u20131926], Paris, probably 1916", "citations": [], "footnotes": null, "date": "1916", "sortorder": 2}, {"description": "(sold to Galerie Sagot-Le Garrec, Paris), probably 1916", "citations": [], "footnotes": null, "date": "1916", "sortorder": 3}, {"description": "Edmond Sagot [1857\u20131917], Paris, by descent, probably 1916-1917", "citations": [], "footnotes": null, "date": "1916\u201317", "sortorder": 4}, {"description": "Sagot family collection, Paris, by descent, 1917-2023", "citations": [], "footnotes": null, "date": "1917\u20132023", "sortorder": 5}, {"description": "(sold to Bernard Derroitte, Chicago, IL), 2023", "citations": [], "footnotes": null, "date": "2023", "sortorder": 6}, {"description": "(sold to the Cleveland Museum of Art, Cleveland, OH), 2023-", "citations": [], "footnotes": null, "date": "December 4, 2023\u2013", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although Marie Bracquemond was supported and widely respected by her colleagues in her own time, her husband\u2019s reticence to her pursuing a career ultimately led her to limit her artistic production.", "early_education_description": null, "artlens_description": null, "description": "Marie Bracquemond was among a few women artists within the Impressionist circle. After exhibiting at the Salon from a relatively young age, she married the printmaker F\u00e9lix Bracquemond and met artists such as Claude Monet and Edgar Degas through his friendship with them. This drawing is one of several compositions related to <em>Muses of the Arts</em>, one of Bracquemond\u2019s best known works, featuring personifications of various artforms\u2014such as, here, architecture. The completed work was featured in the Exposition Universelle in 1878, while the related drawings, possibly including this one, were singled out for praise in the 1879 Impressionist group exhibition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q124339705"], "internet_archive": ["https://archive.org/details/clevelandart-2023.165-architecture"]}, "citations": [{"citation": "Gustave Geffroy, \u201cPr\u00e9face,\u201d in <em>Catalogue des peintures, aquarelles, dessins et eaux-fortes de Marie Bracquemond</em>, exh. cat.(Paris: Bernheim-Jeune &amp; Cie, 1919).", "page_number": "Mentioned: pp. 3-4 (possibly)", "url": ""}], "url": "https://clevelandart.org/art/2023.165", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2023.165/2023.165_web.jpg", "width": "625", "height": "900", "filesize": "283056", "filename": "2023.165_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2023.165/2023.165_print.jpg", "width": "2361", "height": "3400", "filesize": "4250528", "filename": "2023.165_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2023.165/2023.165_full.tif", "width": "8194", "height": "11801", "filesize": "290121060", "filename": "2023.165_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/2023.165/2023.165_alt0_web.jpg", "width": "622", "height": "900", "filesize": "239110"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2023.165/2023.165_alt0_print.jpg", "width": "2350", "height": "3400", "filesize": "3849644"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2023.165/2023.165_alt0_full.tif", "width": "8194", "height": "11856", "filesize": "291471868"}, "date_created": "2024-02-21T15:36:46", "annotation": ""}], "creditline": "The Jane B. Tripp Charitable Lead Annuity Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 665182, "creators": [{"id": 665179, "description": "Marie Bracquemond (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "French painter, printmaker, and ceramicist, 1840-1916", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2023-12-04T05:00:00Z", "sortable_date": 1878, "date_added_to_oa": null, "date_text": "1878", "collapse_artists": false, "on_loan": false, "recently_acquired": true, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 09:13:14.559000"}, {"id": 129163, "accession_number": "1951.65.10", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: On the Pont de l'Europe, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 33.4 x 49.5 cm (13 1/8 x 19 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.10", "current_location": null, "title": "On the Pont de l'Europe", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 33.4 x 49.5 cm (13 1/8 x 19 1/2 in.)", "dimensions": {"sheet": {"height": 0.334, "height_inch": 13, "height_inch_fraction": 0.125, "width": 0.495, "width_inch": 19, "width_inch_fraction": 0.5}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.74"], "did_you_know": "A popular scene among French Impressionists, Le Pont de l\u2019Europe is also depicted in paintings by Gustave Caillebotte, \u00c9douard Manet, and Claude Monet.", "early_education_description": null, "artlens_description": null, "description": "The Pont de l\u2019Europe, a massive iron bridge built between 1865 and 1869, provided easy access to the expanded Gare Saint-Lazare railway station. Vuillard depicts this quintessential symbol of Parisian modernity with a decorative design of crisscrossing railings. The pattern is reminiscent of the wallpaper and textiles in the artist\u2019s paintings of interiors throughout the 1890s, such as those on view in the first two galleries of this exhibition. In his own witty and highly personal manner, Vuillard domesticized one of the capital\u2019s most important landmarks and technologically modern feats.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909886"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.10-on-the-pont-de-l-eur"]}, "citations": [{"citation": "Brown, Heather Lemonedes. \u201cThe Nabi City.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 222-261. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 233; Reproduced: P. 259, no. 177", "url": ""}], "catalogue_raisonne": "Roger-Marx 40", "url": "https://clevelandart.org/art/1951.65.10", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.10/1951.65.10_web.jpg", "width": "1071", "height": "893", "filesize": "709319", "filename": "1951.65.10_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.10/1951.65.10_print.jpg", "width": "3400", "height": "2835", "filesize": "7269441", "filename": "1951.65.10_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.10/1951.65.10_full.tif", "width": "5640", "height": "4702", "filesize": "79592652", "filename": "1951.65.10_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129163, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Landscapes and Interiors:  On the Pont de l'Europe"], "is_highlight": false, "updated_at": "2026-05-29 06:39:52.384000"}]}