{"info": {"total": 1096, "parameters": {"skip": 0, "limit": 1000, "created_before_age": 25, "select": "accession_number,accession_number_sortable,cover_accession_number,department,gallery,department,collection,classification_type"}}, "data": [{"id": 124245, "accession_number": "1945.24", "share_license_status": "Copyrighted", "tombstone": "La Vie, 1903. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 239 x 170 x 10 cm (94 1/8 x 66 15/16 x 3 15/16 in.); unframed: 196.5 x 129.2 cm (77 3/8 x 50 7/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1945.24. \u00a9 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "La Vie", "creation_date": "1903", "creation_date_earliest": 1903, "creation_date_latest": 1903, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 239 x 170 x 10 cm (94 1/8 x 66 15/16 x 3 15/16 in.); Unframed: 196.5 x 129.2 cm (77 3/8 x 50 7/8 in.)", "dimensions": {"framed": {"height": 2.39, "height_inch": 94, "height_inch_fraction": 0.125, "width": 1.7, "width_inch": 66, "width_inch_fraction": 0.9375, "depth": 0.1, "depth_inch": 3, "depth_inch_fraction": 0.9375}, "unframed": {"height": 1.965, "height_inch": 77, "height_inch_fraction": 0.375, "width": 1.292, "width_inch": 50, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed upper left: \"Picasso\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 518205, "title": "Picasso", "description": "<i>Picasso</i>. Tate Britain, London (July 5-September 18, 1960).", "opening_date": "1960-07-05T04:00:00"}, {"id": 515796, "title": "Picasso and the Theatre", "description": "<i>Picasso and the Theatre</i>. Mus\u00e9e des Augustins, Toulouse, France (organizer) (June 22-September 15, 1965).", "opening_date": "1965-06-22T04:00:00"}, {"id": 516237, "title": "Hommage a Pablo Picasso, Peintures", "description": "<i>Hommage a Pablo Picasso, Peintures</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (November 20, 1966-February 12, 1967).", "opening_date": "1966-11-20T05:00:00"}, {"id": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 442184, "title": "Pablo Picasso", "description": "<i>Pablo Picasso</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (co-organizer) (April 2-May 29, 1983); Kyoto Municipal Museum of Art, Kyoto, Japan (co-organizer) (June 10-July 24, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 442154, "title": "Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)", "description": "<i>Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)</i>. Kunstmuseum Bern, Bern, Switzerland (organizer) (December 6, 1984-February 17, 1985).", "opening_date": "1984-12-06T05:00:00"}, {"id": 177096, "title": "Picasso:  The Early Years, 1892-1906", "description": "<i>Picasso:  The Early Years, 1892-1906</i>. National Gallery of Art (organizer) (March 30-July 27, 1997); Museum of Fine Arts, Boston (September 10, 1997-January 4, 1998).", "opening_date": "1997-03-30T00:00:00"}, {"id": 218074, "title": "Picasso: The Artist's Studio", "description": "<i>Picasso: The Artist's Studio</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (June 7-September 23, 2001); The Cleveland Museum of Art, Cleveland, OH (October 28, 2001-January 6, 2002).", "opening_date": "2001-06-07T00:00:00"}, {"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>. 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": 220287, "title": "Picasso: Tradici\u00f3n y Vanguardia", "description": "<i>Picasso: Tradici\u00f3n y Vanguardia</i>. Museo Nacional del Prado, Madrid, Spain (organizer) (June 5-September 17, 2006).", "opening_date": "2006-06-05T00:00:00"}, {"id": 206339, "title": "Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)", "description": "<i>Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15, 2006-January 7, 2007); The Metropolitan Museum of Art, New York, NY (co-organizer) (March 4-June 3, 2007).", "opening_date": "2006-10-15T00:00:00"}, {"id": 200271, "title": "Picasso and the Mysteries of Life: La Vie", "description": "<i>Picasso and the Mysteries of Life: La Vie</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-April 21, 2013); Museu Picasso, Barcelona, Spain (October 10, 2013-January 19, 2014).", "opening_date": "2012-12-12T05:00:00"}, {"id": 218167, "title": "Lend-Back:  Painting the Modern Garden", "description": "<i>Lend-Back:  Painting the Modern Garden</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (September 11-December 7, 2015).", "opening_date": "2015-09-11T00:00:00"}, {"id": 291274, "title": "Picasso: Blue and Rose", "description": "<i>Picasso: Blue and Rose</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (September 18, 2018-January 6, 2019); Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (February 3-June 16, 2019).", "opening_date": "2018-09-18T04:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (January 25-August 2, 2020) https://www.royalacademy.org.uk/exhibition/picasso-and-paper; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>The Art of the Third Republic: French Painting 1870-1940, </em>Worcester Art Museum, Worcester, MA (February 22 - March 16, 1941).", "opening_date": "1941-02-22T05:00:00Z"}, {"description": "<em>Picasso: Forty Years of His Art, </em>Museum of Modern Art, New York. (November 15, 1939 - January 7, 1940).", "opening_date": "1939-11-15T05:00:00Z"}, {"description": "<em>Picasso, </em>Kunsthaus Z\u00fcrich (September 11-October 30, 1932).", "opening_date": "1932-09-11T04:00:00Z"}, {"description": "<em>Exposition Picasso</em>, Galeries Georges Petit, Paris (June 16-July 30, 1932).", "opening_date": "1932-06-16T04:00:00Z"}, {"description": "<em>Thirty Years of Pablo Picasso, </em>Reid and Lef\u00e8vre Gallery (June 1931).", "opening_date": "1931-06-01T04:00:00Z"}, {"description": "<em>Erste Sonderausstellung in Berlin, </em>Galerien Thannhauser (January 9- mid-February 1927).", "opening_date": "1927-01-09T05:00:00Z"}]}, "provenance": [{"description": "Sebasti\u00e0 Junyent [1865-1908], Barcelona, Spain (acquired from Picasso along with The Old Jews in 1904 for 500 pesetas)", "citations": [], "footnotes": [], "date": "1904", "sortorder": 1}, {"description": "(Ambroise Vollard, Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Justin K. Thannhauser [1892-1976], Munich/Berlin/Lucerne, acquired by 1926)", "citations": [], "footnotes": [], "date": "1926", "sortorder": 3}, {"description": "(Reid & Lefevre, London, United Kingdom, by 1931, shared with Thannhauser)", "citations": [], "footnotes": null, "date": "1931", "sortorder": 4}, {"description": "(Etienne Bignou, Paris,France, by 1932, shared with Thannhauser and Reid & Lefevre)", "citations": [], "footnotes": [], "date": "1932", "sortorder": 5}, {"description": "Rhode Island School of Design, Providence, RI, 1937", "citations": [], "footnotes": null, "date": "1937", "sortorder": 6}, {"description": "(Theodore Schempp [1904-1988], New York, NY,1944)", "citations": [], "footnotes": [], "date": "1944", "sortorder": 7}, {"description": "(Jacques Seligmann and Company, New York, NY,1944)", "citations": [], "footnotes": null, "date": "1944-1945", "sortorder": 8}, {"description": "(Jacques Seligmann and Company, New York, NY, 1945 sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1945", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1945-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso began drawing as a child and studying at an art school at age eleven. He later remarked that \"art is a lie that makes us realize the truth.\"", "description": "The subject of this painting has been interpreted variously as a realistic portrayal of a working-class couple facing the challenges of poverty and as a symbolic representation of the cycle of life, with the infant representing childhood, the couple representing youth, and the draped woman representing age. In 1901, depressed by the suicide of his friend, the poet and painter Carles Casagemas, Pablo Picasso began the melancholic paintings of his Blue Period (1901\u20134). Twenty-one years old and struggling to support himself, he restricted his palette to cool colors suggestive of night, mystery, dreams, and death. His interest in themes of suffering and social alienation culminated in this painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q1799228"], "internet_archive": []}, "citations": [{"citation": "\"Pablo Ruiz Picasso.\" <em>El Liberal </em>(June 4, 1903): 2.", "page_number": "Mentioned: p. 2", "url": ""}, {"citation": "Sch\u00fcrer, Oskar. \"Picassos Klassizismus,\" in <em>Die Kunst f\u00fcr Alle</em>, 27 (Munich, April 1926).", "page_number": "Reproduced: p. 204.", "url": null}, {"citation": "<em>The Arts</em>, 9. no. 2 (February 1927)", "page_number": "Reproduced frontispiece, p. 60 in bound edition.", "url": null}, {"citation": "<em>Erste Sonderausstellung in Berlin</em>. Berlin: Galerien Thannhauser, 1927.", "page_number": "Reproduced: p. 117, cat. 175", "url": null}, {"citation": "Zervos, Christian. \"Picasso: Oeuvres in\u00e9dites anciennes.\" <em>Cahiers d'art</em>, 3 (1928).", "page_number": "Reproduced: p. 109.", "url": null}, {"citation": "Gaunt, William. \"Picasso and the Cul-de-sac of Modern Painting.\" <em>Atelier </em>1, no. 3 (June 1931): 410-416.", "page_number": "Reproduced: p. 411", "url": ""}, {"citation": "Lefevre Gallery. <em>Thirty Years of Pablo Picasso : June 1931</em>. London: Alex. Reid &amp; Lefevre Ltd., 1931.", "page_number": "Mentioned and reproduced: cat. 3", "url": ""}, {"citation": "Earp, T.W. \"The Picasso Exhibition.\" <em>Apollo </em>14, no. 79 (July 1931): 40-42.", "page_number": "Mentioned and reproduced: p. 40.", "url": ""}, {"citation": "<em>Exposition Picasso</em>. Paris: Galerie Georges Petit, 1932.", "page_number": "Reproduced:  no. 17.", "url": null}, {"citation": "Zervos, Christian. <em>Pablo Picasso, Vol. 1: Oeuvres de 1895 \u00e0 1906</em>. Paris: \u00c9ditions Cahiers d'art, 1, 1932.", "page_number": "Mentioned: p. 179; Reproduced: plate 83", "url": ""}, {"citation": "George, Waldemar. \"The Picasso Exhibition.\" <em>Formes </em>25 (May 1932): 268-271.", "page_number": "Reproduced", "url": ""}, {"citation": "\"Modern Recognition.\" <em>The Art News </em>30, no. 39 (August 13, 1932): 8.", "page_number": "Reproduced: on cover.", "url": ""}, {"citation": "<em>Pablo Picasso : Kleiner Katalog : 11. September Bis 30. Oktober 1932, Kunsthaus Zu\u0308rich.</em> Zu\u0308rich: Kunsthaus, 1932.", "page_number": "Mentioned: p.2. no. 18 (as Das Leben)", "url": ""}, {"citation": "\"Art Throughout America: Providence: A Newly Acquired Picasso of the Blue Period.\" <em>The Art News </em>36, no. 11 (December 11, 1937): 16.", "page_number": "Mentioned: p. 16.", "url": ""}, {"citation": "\"When Picasso was Blue.\" <em>The Art Digest </em>12, no. 6 (December 15, 1937): 5.", "page_number": "Mentioned and Reproduced: p. 5", "url": ""}, {"citation": "Daly, D. \"La Vie, Picasso.\" <em>Bulletin of the Rhode Island School of Design </em>26, no. 1 (January 1938): 2-3.", "page_number": "Mentioned: p. 2-3; Reproduced: on cover", "url": ""}, {"citation": "Barr, Alfred H., Jr., Picasso: <em>Forty Years of His Art</em>. New York: Museum of Modern Art, 1939.", "page_number": "Reproduced: cat. no. 19.", "url": null}, {"citation": "Worcester Art Museum. <em>The Art of the Third Republic; French Painting 1870-1940.</em> [Worcester, Mass.]: [Printed by the Davis Press], 1941.", "page_number": "Mentioned and reproduced: no. 34", "url": ""}, {"citation": "Slatkin, Charles E. <em>The Enjoyment of Art in America: A Survey of the Permanent Collections of Painting, Sculpture, Ceramics, and Decorative Arts in American and Canadian Museums. </em>Philadelphia and New York: J.B. Lippincott Company, 1942.", "page_number": "", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. [6]", "url": "https://archive.org/details/CMAPaintings1945/page/n14"}, {"citation": "Francis, Henry. \"Picasso's 'La Vie.'\" <em>The Bulletin of the Cleveland Museum of Art </em>32, no. 6 (June 1945): 88, 93-94.", "page_number": "Reproduced: p. 82; Mentioned: p. 88, 93-94", "url": "https://www.jstor.org/stable/25141213"}, {"citation": "Barr, Alfred H., Jr.,<em> Picasso:</em> <em>Fifty</em> <em>Years of His Art</em>. New York: Museum of Modern Art, 1946.", "page_number": "Mentioned and reproduced: p. 26-27", "url": null}, {"citation": "M. Knoedler &amp; Co. <em>Picasso Before 1907: Loan Exhibition for the Benefit of The Public Education Association. </em>New York: Knoedler Galleries, 1947.", "page_number": "Mentioned and Reproduced: cat. 17", "url": ""}, {"citation": "<em>Picasso \"L'atelier:\" Paintings of 1956</em>. Lucerne: Galerie Rosengart, 1957.", "page_number": "Reproduced: p. 91, no. 25", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: cat. no. 521", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"citation": "<em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: no. 68", "url": ""}, {"citation": "Blunt, Anthony, and Phoebe Pool. <em>Picasso, the Formative Years; a Study of His Sources.</em> [Greenwich]: New York Graphic Society, 1962.", "page_number": "Mentioned: p. 20-21", "url": ""}, {"citation": "Milhau, Denis. <em>Picasso et Le the\u0301a\u0302tre.</em> Toulouse: Muse\u0301e des Augustins, 1965.", "page_number": "Mentioned: p. 41-42, cat. 1", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland: Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 196", "url": "https://archive.org/details/CMAHandbook1966/page/n220"}, {"citation": "Daix, Pierre, Georges Boudaille, and Joan Rosselet. <em>Picasso, 1900-1906: Catalogue raisonn\u00e9 de l'oeuvre peint</em>. Neuchatel: Ides et Calends, 1966-88.", "page_number": "Mentioned: 58-60, 64, and 222; Reproduced: p. 222-223, IX.13", "url": ""}, {"citation": "Sutton, Denys and Paolo Lecaldano. <em>The Complete Painting of Picasso: Blue and Rose Periods</em>. New York: Harry N. Abrams, Inc., 1968.", "page_number": "Mentioned and reproduced: p. 94, cat. 89, plate XIII", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 195", "url": "https://archive.org/details/CMAHandbook1969/page/n219"}, {"citation": "Hennig, Edward B. \"Pablo Picasso: Fan, Salt Box, and Melon.\" <em>The Bulletin of the Cleveland Museum of Art </em>56, no. 8 (October 1969): 273-286.", "page_number": "Mentioned and reproduced: p. 276, fig. 6", "url": "https://www.jstor.org/stable/25152288"}, {"citation": "Penrose, Roland, John Golding, and Daniel Henry Kahnweiler. <em>Picasso, 1881-1973</em>. London: Elek, 1973.", "page_number": null, "url": null}, {"citation": "Reff, Theodore. \"Love and Death in Picasso's Early Work.\" <em>Artforum </em>11, no. 9 (May 1973): 64-73.", "page_number": "Mentioned and reproduced: p. 66, fig. 5", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 241", "url": "https://archive.org/details/CMAHandbook1978/page/n261"}, {"citation": "McCully, Marilyn and Robert McVaugh. \"New Light on Picasso's <em>La Vie.</em>\" <em>The Bulletin of the Cleveland Museum of Art </em>65 (February 1978): 67-71.", "page_number": "Mentioned: p. 67-71; Reproduced: p. 66", "url": "https://www.jstor.org/stable/25159566"}, {"citation": "Palau i Fabre, Josep. <em>Picasso, the Early Years, 1881-1907</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned: p. 339-341, and 541; Reproduce, p. 341, no. 882", "url": ""}, {"citation": "Gedo, Mary Mathews. \"The Archaeology of a Painting: A Visit to the City of the Dead Beneath Picasso's <em>La Vie.</em>\" <em>Arts </em>56, no. 3 (November 1981): 116-129.", "page_number": "Reproduced: 116, fig. 1", "url": ""}, {"citation": "Kitaj, R. B., and Timothy Hyman. \"A Return to London.\" <em>Kitaj Paintings, Drawings, Pastels.</em> John Ashebury, Joe Shannon, Jane Livingston, 41. New York, NY: Thames and Hudson, 1983.", "page_number": "Mentioned: p. 41", "url": null}, {"citation": "McCully, Marilyn and Ju\u0308rgen Glaesemer. <em>Der Junge Picasso: Fr\u00fchwerk Und Blaue Periode.</em> Bern: Kunstmuseum, 1984.", "page_number": "Mentioned: p.166-176 and p. 283-293; Reproduce: p. 169, p. 283 and p. 293, kat. 194", "url": ""}, {"citation": "Spies, Werner. <em>Kontinent Picasso: Ausgewa\u0308hlte Aufsa\u0308tze aus zwei Jahrzehnten.</em> Mu\u0308nchen: Prestel, 1988.", "page_number": "Mentioned and reproduced: p. 105-106, abb. 105", "url": ""}, {"citation": "Robinson, William H. \"Puvis De Chavannes's <em>Summer</em> and the Symbolist Avant-Garde.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 1 (1991): 2-27.", "page_number": "Mentioned: p. 16", "url": "https://www.jstor.org/stable/25161310"}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso</em>. Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Reproduced: P. 344", "url": ""}, {"citation": "Daix, Pierre. <em>Picasso: Life and Art</em>. New York: Icon Editions, 1993.", "page_number": null, "url": null}, {"citation": "Gedo, Mary Mathews. <em>Looking at Art from the Inside Out : The Psychoiconographic Approach to Modern Art.</em> Cambridge: Cambridge University Press, 1994.", "page_number": "Discussed: p. 87-118; Reproduced, p. 89, fig. 28", "url": ""}, {"citation": "Daix, Pierre. <em>Dictionnaire Picasso</em>. Paris: R. Laffont, 1995.", "page_number": "Reproduced: p. 628-629, pl. 1", "url": null}, {"citation": "Asahi Shinbunsha. <em>Pikaso: 20-seiki no kyosho\u0304o</em>. Tokyo: Asahi Shinbunsha, 1995.", "page_number": "Reproduced:  fig. 8", "url": null}, {"citation": "Chipp, Herschel, Alan Wofsy, and Fernand Mourlot. <em>Picasso's paintings, watercolors, drawings and sculpture: a comprehensive illustrated catalogue, 1885-1973</em>. San Francisco: Alan Wofsy Fine Arts, 1995.", "page_number": "Reproduced: p. 24, fig. 1903-071", "url": null}, {"citation": "McCully, Marilyn and Natasha Staller. <em>Picasso: the Early Years, 1892-1906</em>. Washington, DC: National Gallery of Art, 1997.", "page_number": "Reproduced: p. 6, 190", "url": null}, {"citation": "Fukaya, Katsunori. <em>Pikaso ten: kaikan 10-shu\u0304nen kinen </em>(Pablo Picasso: 10th anniversary). Japan: Chu\u0304nichi Shinbunsha, 1998.", "page_number": "Reproduced: p. 19, no. 11", "url": null}, {"citation": "Spieler, Reinhard and Hans Belting. <em>Max Beckmann: Bildwelt und Weltbild in den Triptychen</em>. Cologne: DuMont, 1998.", "page_number": "Reproduced: p. 93, no. 15", "url": null}, {"citation": "Arnason, H. Harvard and Marla Prather. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography</em>. New York, NY: Harry N. Abrams, 1998.", "page_number": "Reproduced: p. 165, pl. 87", "url": null}, {"citation": "Warncke, Carsten-Peter, Ingo F. Walther, and Michael Hulse. <em>Pablo Picasso: 1881-1973</em>. Cologne: Taschen, 1998.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "M\u00f8rstad, Erik. \"Jung og Picasso - Henderson og Pollock: Jungianismen som billedanalytisk verkt\u00f8y.\" <em>Kunst og Kultur </em>81, no. 1 (1998): 18-59.", "page_number": "Mentioned: p. 30; Reproduced, p. 36, ill. 3", "url": ""}, {"citation": "Kosinski, Dorothy M. <em>The Artist and the Camera: Degas to Picasso</em>. Dallas: Dallas Museum of Art, 1999.", "page_number": "Reproduced: p. 300, fig. 146", "url": null}, {"citation": "Richardson, John, and Marilyn McCully. <em>A Life of Picasso</em>. New York: Random House, 1991.", "page_number": "I:269-279.", "url": null}, {"citation": "Hunter, Sam, John M. Jacobus, and Daniel Wheeler. <em>Modern Art: Painting, Sculpture, Architecture</em>. New York, NY: Harry N. Abrams, 2000", "page_number": "Reproduced: p. 134, no. 222", "url": null}, {"citation": "<em>Picasso: Museo Nacional de Colombia: mayo 13-agosto 11, Bogota\u0301, 2000</em>. Bogota\u0301, Colombia: Museo Nacional de Colombia, 2000.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "Le\u0301al, Brigitte, Christine Piot, and Marie-Laure Bernadac. <em>The Ultimate Picasso</em>. New York, NY: Harry N. Abrams, 2000.", "page_number": "Reproduced: p. 69, no. 133", "url": null}, {"citation": "Cox, Neil. <em>Cubism</em>. London: Phaidon, 2000.", "page_number": "Mentioned: p. 34-35, reproduced: fig. 15", "url": null}, {"citation": "Solender, Katherine, \"From Peacocks to Picasso\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 40 no. 09, November 2000", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2000-09/page/8"}, {"citation": "FitzGerald, Michael C., and William H. Robinson. <em>Picasso: The Artist's Studio</em>. Hartford: Wadsworth Atheneum Museum of Art and Yale University Press, 2001.", "page_number": "Mentioned: p. 98-99; p. 19, 22, 24, 63-87; Reproduced pp. 62, 98", "url": null}, {"citation": "Clair, Jean. <em>Picasso E\u0301rotique</em>. Munich: Prestel, 2001.", "page_number": "Reproduced: p. 91, fig. 5", "url": null}, {"citation": "To\u0304kyo\u0304 Sho\u0304ko\u0304 Kaigisho. <em>Kara\u0304 ko\u0304dine\u0304shon no kiso: kara\u0304 ko\u0304dine\u0304ta\u0304 kentei shiken 3-kyu\u0304 ko\u0304shiki tekisuto </em>(Introduction to color coordination). Tokyo: To\u0304kyo\u0304 Sho\u0304ko\u0304 Kaigisho, 2001", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 54-55; Reproduced: p. 54", "url": null}, {"citation": "Lemoine, Serge. <em>From Puvis De Chavannes to Matisse and Picasso: Toward Modern Art</em>. Milan: Bompiani, 2002.", "page_number": "Reproduced: p. 41, fig. 19", "url": null}, {"citation": "Andersen, Wayne V. <em>Picasso's Brothel: Les Demoiselles D'Avignon</em>. New York, NY: Other Press, 2002", "page_number": "Reproduced: p. 192, fig. 19", "url": null}, {"citation": "Oca\u00f1a, Mar\u00eda Teresa. <em>Picasso joven</em>. La Corun\u0303a: Fundacio\u0301n Pedro Barrie\u0301 de la Maza, Conde de Fenosa, 2002.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "<em>Sekai bijutsukan no tabi</em>. Tokyo: Sho\u0304gakukan, 2002.", "page_number": "Reproduced: p. 310", "url": null}, {"citation": "Meyer, Richard. <em>Representing the Passions: Histories, Bodies, Visions</em>. Los Angeles: Getty Research Institute, 2003.", "page_number": "Reproduced: p. 236, fig. 10", "url": null}, {"citation": "Becht-Jo\u0308rdens, Gereon and Peter Matthias Wehmeier. <em>Picasso und die christliche Ikonographie: Mutterbeziehung und ku\u0308nstlerische Position</em>. Berlin: Reimer, 2003.", "page_number": "Reproduced: cover and fig. 1", "url": null}, {"citation": "Senzoku, Nobuyuki. <em>Seiyo\u0304 kaiga meisaku hyakuissen</em>. Tokyo: Sho\u0304gakukan, 2003.", "page_number": "Reproduced: p. 182, fig.100", "url": null}, {"citation": "<em>Picasso in Istanbul</em>. Istanbul, Turkey: Sabanci University, Sakip Sabanci Museum, 2005.", "page_number": "Reproduced: p. 19, fig. 2", "url": null}, {"citation": "Lara Elizondo, Lupina. <em>Referencias de Picasso en Me\u0301xico: ocho pintores (1900-1950): Angel Za\u0301rraga, Diego Rivera, Carlos Me\u0301rida, Manuel Rodri\u0301guez Lozano, Alfonso Michel, Rufino Tamayo, Francisco Gutie\u0301rrez, Federico Cantu\u0301</em>. Me\u0301xico, DF: Qualitas Compan\u0303i\u0301a de Seguros, 2005.", "page_number": "Reproduced: p. 53", "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: 6", "url": "https://archive.org/details/CMAMM2005-09/page/6"}, {"citation": "Berggruen, Olivier and Max Hollein. <em>Picasso und das Theater</em>. Ostfildern, Germany: Hatje Cantz, 2006.", "page_number": "Reproduced: p. 28, fig. 1", "url": null}, {"citation": "Adams, Laurie. <em>The Making and Meaning of Art</em>. Upper Saddle River, New Jersey: Pearson Prentice Hall, 2006.", "page_number": "Reproduced: p. 147, fig. 8.2", "url": null}, {"citation": "Serraler, Francisco Calvo and Carmen Gime\u0301nez. <em>Picasso : Tradition and Avant-Garde</em>. Madrid: Museo Nacional del Prado; Museo Nacional Centro de Arte Reina Sofi\u0301a, 2006.", "page_number": "Mentioned: p. 76-89; Reproduced: p. 77, cat. 1", "url": ""}, {"citation": "Robinson, William H., Jordi Falga\u0300s, and Carmen Belen Lord. <em>Barcelona and Modernity: Picasso, Gaudi\u0301, Miro\u0301, Dali\u0301</em>. Cleveland: Cleveland Museum of Art in association with Yale University Press, 2006.", "page_number": "Mentioned: p. 135; Reproduced p. 134", "url": null}, {"citation": "Calvo Serraller, Francisco. <em>Picasso: tradicio\u0301n y vanguardia: gui\u0301a antolo\u0301gica de la exposicio\u0301n, </em>Madrid: Fundacio\u0301n Amigos del Museo del Prado, 2006.", "page_number": "Mentioned: p. 8-9; Reproduced: p. 9", "url": null}, {"citation": "Robinson, William H., Laurence Channing, Barbara J. Bradley, and Margaret Burgess. <em>Monet to Dali\u0301: Impressionist and Modern Masterworks from the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2007.", "page_number": null, "url": null}, {"citation": "Seki, Naoko. <em>Pikaso</em>. Tokyo, Japan: Sho\u0304gakukan, 2006.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Hall, James. <em>The Sinister Side: How Left-Right Symbolism Shaped Western Art</em>. Oxford, UK: Oxford University Press, 2008.", "page_number": "Reproduced: p. 333, fig.37", "url": null}, {"citation": "Duchting, Hajo. <em>Pablo Picasso</em>. London: Prestel, 2008.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Yu\u0304ki, Masako. <em>Pikaso egakareta koi: yattsu no koigokoro de yomitoku pikaso no miryoku</em>. Tokyo: Sho\u0304gakukan, 2008.", "page_number": "Reproduced: p. 21", "url": null}, {"citation": "Tinterow, Gary, Susan Alyson Stein, Magdalena Dabrowski, et al. <em>Picasso in the Metropolitan Museum of Art</em>. New York: Metropolitan Museum of Art, 2010.", "page_number": "Reproduced: p. 63, fig. 22.4", "url": null}, {"citation": "Arnason, H. Harvard and Elizabeth Mansfield. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography</em>. Upper Saddle River, New Jersey: Pearson Prentice Hall, 2010.", "page_number": "Reproduced: p. 160, no. 8.2", "url": null}, {"citation": "Giedion, Sigfried, Gotthard Jedlicka, and Piet Meyer. <em>Pablo Picasso in Zu\u0308rich--1932</em>. Bern, Switzerland: Meyer, 2010.", "page_number": "Reproduced: p. 80, Abb.15", "url": null}, {"citation": "Cox, Neil. <em>The Picasso Book</em>. London: Tate Publishing, 2010.", "page_number": "Reproduced: p. 10, fig. 2; Mentioned: p. 273-274", "url": null}, {"citation": "Galassi, Susan Grace and Marilyn McCully. <em>Picasso's Drawings, 1890-1921: Reinventing Tradition</em>. New Haven: Yale University Press, 2011.", "page_number": "Reproduced: p. 100, fig. 51", "url": null}, {"citation": "<em>The Picasso Project: Picasso's Paintings, Watercolors, Drawings and Sculpture: A Comprehensive Illustrated Catalogue, 1885-1973: The Blue Period, 1902-1904, Barcelona and Paris</em>. San Francisco: Alan Wofsy Fine Arts, 2011.", "page_number": "Mentioned and reproduced: p. 124, no. 1903-071", "url": ""}, {"citation": "Robinson, William H. <em>Picasso and the Mysteries of Life: La Vie</em>. Cleveland: Cleveland Museum of Art, 2012.", "page_number": "Reproduced: p. 31", "url": null}, {"citation": "Zuffi, Stefano. <em>Colour in Art</em>. Antwerpen, Belgium: Ludion, 2012.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London: Scala Books, 2012.", "page_number": "Reproduced: p. 292-293", "url": null}, {"citation": "Ramon, Artur. <em>Nada es bello sin el azar: quince episodios sobre pintura</em>. Barcelona: Elba, 2012.", "page_number": "Reproduced: p. 137, fig. 44", "url": null}, {"citation": "Valle\u0300s, Eduard and Isabel Cendoya. <em>Yo Picasso: self-portraits</em>. Barcelona: Ajuntament de Barcelona, Institut de Cultura: Museu Picasso, 2013.", "page_number": "Reproduced: p. 80, fig. 6, 7", "url": null}, {"citation": "Andral, Jean-Louis, Marilyn McCully, Michael Raeburn, et al. <em>Picasso dans la collection Nahmad</em>. Paris: E\u0301ditions Hazan, 2013.", "page_number": "Reproduced: p. 273-274, fig. 4; Mentioned: p. 419", "url": null}, {"citation": "Bozal Ferna\u0301ndez, Valeriano. <em>Historia de la pintura y la escultura del siglo XX en Espan\u0303a</em>. Madrid: Machado Grupo de Distribucion, 2013.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "<em>The Art Newspaper 23</em>, no. 252 (December 2013).", "page_number": "Reproduced: p. 32", "url": null}, {"citation": "Gual, Male\u0301n, Reyes Jime\u0301nez, and William H. Robinson. <em>Journey Through the Blue: La Vie. </em>Barcelona: Museu Picasso, 2013.", "page_number": "p. 103, cat. no. 20", "url": null}, {"citation": "Castan\u0303o, Antonia, Maria Teresa Ocan\u0303a, Neil Cox, Brigitte Le\u0301al, Valeriano Bozal Ferna\u0301ndez, Christopher Green. <em>Picasso en el taller</em>. Madrid: Fundaci\u00f3n MAPFRE, Instituto de Cultura, 2014.", "page_number": "Reproduced: p. 15, fig. 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. 294-295", "url": ""}, {"citation": "Steele, Marcia. \"A Life Before <em>La Vie</em>: A recent cleaning of Picasso's masterpiece provided a unique opportunity for further research.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 6-7.", "page_number": "Reproduced and Mentioned: p. 6-7", "url": "https://archive.org/details/CMAMM2015-06"}, {"citation": "Pratesi, Ludovico. \"Le Sfide del Grande Transfiguratore.\" <em>Art e dossier</em>, no. 316 (December 2014).", "page_number": "Mentioned: p. 30-35; Reproduced: p. 31", "url": null}, {"citation": "\"Avec le Bleu une Histoire qui Dure.\" <em>Beaux arts magazine,</em> no. 368 (Fevrier 2015).", "page_number": "Mentioned: p. 52-53; Reproduced: p. 52", "url": null}, {"citation": "Valle\u0300s, Eduard. <em>Picasso: obra catalana</em>. Barcelona: Enciclop\u00e8dia Catalana, 2015.", "page_number": "Reproduced: p. 236-237", "url": null}, {"citation": "Rogla\u0301n, Mark A.<em> Spanish Art in America</em>. Madrid: Ediciones El Viso 2016.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "Mu\u0308ller, Markus. \"The Many Metamorphoses of the Minotaur.\" In <em>Pablo Picasso</em>. Munich: Hirmer, 2016.", "page_number": "Reproduced: p. 14, fig. 4", "url": null}, {"citation": "Jones, Caroline A. <em>The Global Work of Art: World's Fairs, Biennials, and the</em> <em>Aesthetics of Experience.</em> Chicago: University of Chicago Press, 2016.", "page_number": "Mentioned and reproduced: p. 58-59, fig. 2.8", "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. 46-47", "url": ""}, {"citation": "Kisters, Sandra.<em> The Lure of the Biographical: On the (Self-)Representation of Modern Artists.</em> Amsterdam: Valiz, 2017.", "page_number": "Reproduced: p. 57, n.171", "url": null}, {"citation": "Koldehoff, Stefan. \"Marketing Modernism: The Thannhauser Gallery and Its Clients.\" <em>Marketing Van Gogh</em>. Stefan Koldehoff, and Chris Stolwijk, eds., 56-81. Brussels: Mercatorfonds; Amsterdam: Van Gogh Museum, 2017.", "page_number": "Reproduced: p. 61, fig. 43", "url": null}, {"citation": "Jime\u0301nez-Blanco, Mari\u0301a Dolores. <em>Antes, Desde y Despue\u0301s del Cubismo: Picasso, Gris, Blanchard, Gargallo y Gonza\u0301lez, y Vuelta a Picasso.</em> Boadilla del Monte (Madrid): Machado Libros, 2017.", "page_number": "Reproduced: p. 97, fig. 1", "url": null}, {"citation": "Saragoza, Florence, and Pablo Picasso. Picasso et la maternite\u0301. 2017.", "page_number": "Mentioned and reproduced: pp. 22-23", "url": ""}, {"citation": "Rynck, Patrick de and Jon Thompson. <em>Understanding Painting: From Giotto to Warhol</em>. New York: Ludion, distributed by Abrams, 2018.", "page_number": "Reproduced: p. 237", "url": null}, {"citation": "Tasseau, Verane, and Jean-Louis Andral. <em>Pablo Picasso en 15 questions.</em> [Vanves] : Hazan, 2018.", "page_number": "Mentioned and reproduced: P. 28-31", "url": null}, {"citation": "Moore, John L., Esther Jun, Clodagh Keogh, William H. Robinson, Danni Shen, Enid Shomer, and Reto Thu\u0308ring. Demise: Rina Banerjee, Esperanza Corte\u0301s, Jae Rhim Lee, Brian Maguire, Paolo Pelosini, Levent Tuncer. 2018, 6.", "page_number": "Mentioned and reproduced: pp. 4-6.", "url": ""}, {"citation": "Bernardi, Claire, Stephanie Molins, and E\u0301milia Philippot. <em>Picasso: Bleu et Rose.</em> Vanves: Hazan: M'O, 2018.", "page_number": "Mentioned and reproduced: P. 20-21", "url": ""}, {"citation": "Faerna, Jose\u0301 Mari\u0301a. <em>Picasso</em>. Barcelona: Poli\u0301grafa, 2018.", "page_number": "Reproduced: P. 25", "url": ""}, {"citation": "Lloyd, Christopher. <em>Picasso and the Art of Drawing.</em> London: Modern Art Press, 2018.", "page_number": "Reproduced: p. 44, fig. 25", "url": null}, {"citation": "Betard, D. \"Picasso en bleu, en rose et en chefs-d'oeuvre,\" <em>Beaux arts magazine</em>, 411 (Sept. 2018).", "page_number": "Mentioned: p. 78-86; Reproduced: p. 81", "url": null}, {"citation": "Toscano, F. \"Becoming Picasso.\" <em>Modern Painters</em> (Sept. 2018).", "page_number": "Mentioned: p. 104-110; Reproduced: p. 107", "url": null}, {"citation": "De Micci, L. \"L'alba del Genio e Blu e Rosa.\" <em>Il giornale dell'arte</em> 36, no. 389 (Sept. 2018).", "page_number": "Mentioned: p. 39-40", "url": null}, {"citation": "Toscano, Frank. \"Becoming Picasso: A major exhibition at the Musee d'Orsay looks at six formative years early last century, now known as his Blue and Rose periods.\" <em>Modern painters : a quarterly journal of the fine arts 30, no. 8 (September 2018): 105-110</em>", "page_number": "Mentioned; p. 107", "url": ""}, {"citation": "Le Bon, Laurent, Claire Bernardi, Stephanie Molins, et al. <em>Picasso, Bleu et Rose.</em> Vanves: Hazan, 2018.", "page_number": "Mentioned and reproduced: p. 180-182", "url": null}, {"citation": "Bouvier, Rapha\u00ebl, ed. <em>Picasso: The Blue and Rose Periods.</em> Riehen/Basel: Fondation Beyeler, 2019.", "page_number": "Mentioned and reproduced: P. 118-119; 122-123", "url": null}, {"citation": "Picasso, Pablo. <em>Bijiasuo: yi wei tian cai de dan sheng = Picasso: Birth of a Genius.</em> \u5317\u4eac\u5e02: \u6587\u5316\u85dd\u8853\u51fa\u7248\u793e, 2019.", "page_number": "Reproduced: P. 219, 225", "url": ""}, {"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": "Bouvier, Raphae\u0308l. <em>Le Jeune Picasso: Pe\u0301riodes Bleue et Rose.</em> Riehen/Ba\u0302le, Suisse : Fondation Beyler ; Berlin : Hatje Cantz, 2019.", "page_number": "Reproduced: P. 22, 27", "url": ""}, {"citation": "Berggruen, Olivier. \"Painting as Drama: Picasso's Late Paintings.\" In <em>Picasso: The Late Work: from the Collection of Jacqueline Picasso.</em> Ortrud Westheider, and Michael Philipp, eds. Munich: Prestel, 2019.", "page_number": "Mentioned and reproduced: P. 29-31", "url": null}, {"citation": "Ormiston, Rosalind. <em>Picasso</em>. Munich; London; New York: Prestel, 2020.", "page_number": "Mentioned and reproduced: P. 50-51", "url": null}, {"citation": "Planas, Claustre Raffart. \"Early Works and the Blue Period.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 62-79. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: P. 75, cat. no. 48", "url": ""}, {"citation": "McCully, Marilyn. \"Picasso in the Studio.\" In <em>Picasso: Painting the Blue Period.</em> Kenneth Brummel, and Susan Behrends Frank, eds., 10-23. New York: DelMonico Books \u00b7 D.A.P.; Toronto, Ontario, Canada: Art Gallery of Ontario, 2021.", "page_number": "Mentioned and reproduced: P. 18-19, fig. 16", "url": ""}, {"citation": "Frank, Susan Behrends. \"Chronology.\" In <em>Picasso: Painting the Blue Period.</em> Kenneth Brummel, and Susan Behrends Frank, eds., 294-321. New York: DelMonico Books \u00b7 D.A.P.; Toronto, Ontario, Canada: Art Gallery of Ontario, 2021.", "page_number": "Mentioned and reproduced: P. 306-307, fig. 13", "url": ""}, {"citation": "Michels, Stefanie. <em>Leipziger Schule und Kritischer Realismus: die Sammlung Fritz P. Mayer</em>. Mu\u0308nchen: Hirmer, 2022.", "page_number": "Reproduced: P. 50", "url": ""}, {"citation": "Arn, Jackson. \"From God to 10,000 hours.\" <em>Art in America</em> 110, no.5 (June/July 2022): 42-47", "page_number": "Mentioned and reproduced: p.46", "url": ""}, {"citation": "Conzen, Ina. <em>Picasso</em>. Mu\u0308nchen: C.H.Beck, 2023.", "page_number": "Mentioned and reproduced: P. 20, fig. 5", "url": ""}, {"citation": "Gue\u0301gan, Ste\u0301phane. <em>Picasso: Les Chefs-d\u2019\u0152uvre</em>. Paris: \u00c9ditions El Viso, 2023.", "page_number": "Reproduced: p. 2, 67, no. 22", "url": ""}, {"citation": "Lahuerta, Juan Jose\u0301. <em>Being an Artist : Julio Gonz\u00e1lez. </em>Valencia: Institut Valenci\u00e0 d\u2019Art Modern, 2023.", "page_number": "Mentioned and reproduced: p. 40-41, fig. 54", "url": ""}, {"citation": "Rafart i Planas, Claustre. <em>Picasso Barcelona: A Cartography.</em> Translated by Jofre Homedes and Mark Waudby. Barcelona, Spain: Museu Picasso, Editorial Tenov, Barcelona City Council, 2023.", "page_number": "Reproduced: p. 122", "url": ""}, {"citation": "Maldonado, Guitemie. \"Picasso: Trajectoire d'un Geant.\" <em>Dossiers de l'Art</em> 307, no. 4 (2023): 10-27.", "page_number": "Mentioned and reproduced: P. 12-13", "url": ""}, {"citation": "McPherson, Heather. <em>Picturing the Artist's Studio, from Delacroix to Picasso. </em>London: Lund Humphries, 2024.", "page_number": "Mentioned: p. 101; Reproduced: p. 103, fig. 74", "url": ""}], "catalogue_raisonne": "Zervos I.179; Sutton/Lecaldano 89; Daix, Boudaille, Rosselet IX.13; Palau i Fabre: 882; PP 1903-071", "url": "https://clevelandart.org/art/1945.24", "images": {}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 124245, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1945-02-21T00:00:00", "sortable_date": 1903, "date_added_to_oa": null, "date_text": "1903", "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": ["Life"], "is_highlight": false, "updated_at": "2026-05-01 06:48:36.368000"}, {"id": 120870, "accession_number": "1941.591", "share_license_status": "Copyrighted", "tombstone": "The Judgment of Paris, 1914. Pierre-Auguste Renoir (French, 1841\u20131919), and Ricard Guin\u00f3 (Spanish, 1890\u20131973). Bronze; overall: 74.3 x 90.2 x 17.2 cm (29 1/4 x 35 1/2 x 6 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1941.591. \u00a9 Artists Rights Society (ARS), New York", "current_location": "218 European Sculpture", "title": "The Judgment of Paris", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 74.3 x 90.2 x 17.2 cm (29 1/4 x 35 1/2 x 6 3/4 in.)", "dimensions": {"overall": {"height": 0.743, "height_inch": 29, "height_inch_fraction": 0.25, "width": 0.902, "width_inch": 35, "width_inch_fraction": 0.5, "depth": 0.172, "depth_inch": 6, "depth_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower right: \"RENOIR 1914 v.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 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": 216550, "title": "Renoir in the 20th Century", "description": "<i>Renoir in the 20th Century</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (February 14-May 9, 2010); Philadelphia Museum of Art, Philadelphia, PA (June 12-September 5, 2010).", "opening_date": "2009-09-23T00:00:00"}, {"id": 441481, "title": "Gallery One 2012", "description": "<i>Gallery One 2012</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-March 5, 2017).", "opening_date": "2012-12-12T05:00:00"}], "legacy": [{"description": "Antwerp: \"Exposition Art Francais,\"", "opening_date": null}, {"description": "CMA 1929: \"French Art Since 1800\"", "opening_date": "1929-01-01T00:00:00"}, {"description": "CMA 1933:  \"Collection of Mr. and Mrs. Paul Lamb\"", "opening_date": "1933-01-01T00:00:00"}, {"description": "Chicago Arts Club, 1933:  \"Modern Sculpture\"", "opening_date": "1933-01-01T00:00:00"}, {"description": "CMA 1936: \"20th Anniversary Exhibition,\" cat. 311, repr.", "opening_date": "1936-01-01T00:00:00"}, {"description": "CMA 1937: \"Contemporary Sculpture\"", "opening_date": "1937-01-01T00:00:00"}, {"description": "CMA 1956: \"The Venetian Tradition,\" cat. #79, repr. pl. LVII", "opening_date": "1956-01-01T00:00:00"}, {"description": "Los Angeles County Musuem of Art (2/14/2010 - 5/9/2010) and Philadelphia Museum of Art (6/12/2010 - 9/5/2010): \"Renoir in the 20th Century\"", "opening_date": "2010-02-14T00:00:00"}]}, "provenance": [{"description": "A. Vollard, Paris; Thannhauser, Lucerne; Mrs. Mildred H. Lamb, Cleveland; (Parke-Bernet Gallery, NY, Dec 12, 1941, cat. #58)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2876.1936", "2312.1933", "2503.1929"], "did_you_know": "Renoir collaborated with Catalan artist Ricard Guin\u00f3 on a series of sculptures produced between 1913 and 1918. Born in Girona, Spain, Guin\u00f3 had studied with Pablo Picasso's father in Barcelona before moving to Paris in 1910 and becoming an assistant to Aristide Maillol.", "description": "This bronze relief, based on a drawing by Renoir, was modelled and cast by Ricard Guin\u00f3 under Renoir\u2019s supervision. It depicts a theme from classical mythology in which Paris of Troy was directed to give a golden apple to the fairest among three goddesses: Aphrodite, Hera, or Athena. Paris chose Aphrodite, the goddess of love, after she promised him Helen of Sparta, the most beautiful woman in the world, as a bride. Paris\u2019 subsequent abduction of Helen sparked the Trojan War between the Greeks and the city of Troy.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780819"], "internet_archive": ["https://archive.org/details/clevelandart-1941.591-the-judgment-of-pari"]}, "citations": [{"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. 335", "url": "https://archive.org/details/CMAHandbook1958/page/n65"}, {"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": "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": "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. 218", "url": "https://archive.org/details/CMAHandbook1978/page/n238"}], "url": "https://clevelandart.org/art/1941.591", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty T. and David M. Schneider Gallery", "athena_id": 120870, "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}, {"id": 61535, "description": "Ricard Guin\u00f3 (Spanish, 1890\u20131973)", "extent": null, "qualifier": "and", "role": "artist", "biography": "Guin\u00f3 was Renoir's collaborator during the late years, and French courts have ruled that such sculptures should be attributed to both men.", "name_in_original_language": null, "birth_year": "1890", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1941-12-05T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "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": "2026-05-01 06:48:16.210000"}, {"id": 121188, "accession_number": "1942.1065", "share_license_status": "CC0", "tombstone": "Romaine Lacaux, 1864. Pierre-Auguste Renoir (French, 1841\u20131919). Oil on fabric; framed: 106.7 x 89.2 x 8.9 cm (42 x 35 1/8 x 3 1/2 in.); unframed: 81.3 x 65 cm (32 x 25 9/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1942.1065", "current_location": "222 Impressionism & Post-Impressionism", "title": "Romaine Lacaux", "creation_date": "1864", "creation_date_earliest": 1864, "creation_date_latest": 1864, "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: 106.7 x 89.2 x 8.9 cm (42 x 35 1/8 x 3 1/2 in.); Unframed: 81.3 x 65 cm (32 x 25 9/16 in.)", "dimensions": {"framed": {"height": 1.067, "height_inch": 42, "height_inch_fraction": 0.0, "width": 0.892, "width_inch": 35, "width_inch_fraction": 0.125, "depth": 0.089, "depth_inch": 3, "depth_inch_fraction": 0.5}, "unframed": {"height": 0.813, "height_inch": 32, "height_inch_fraction": 0.0, "width": 0.65, "width_inch": 25, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed center right: a. renoir / 1864\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 338387, "title": "Twenty-one Masterpieces by Seven Great Masters", "description": "<i>Twenty-one Masterpieces by Seven Great Masters</i>. Rosenberg & Co. (organizer) (November 15-December 1, 1948).", "opening_date": "1948-11-15T05:00:00"}, {"id": 311952, "title": "Art, A Means to World Understanding", "description": "<i>Art, A Means to World Understanding</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 16-April 10, 1949).", "opening_date": "1949-03-16T05:00:00"}, {"id": 338390, "title": "A Loan Exhibition of Renoir for the Benefit of the New York Infirmary", "description": "<i>A Loan Exhibition of Renoir for the Benefit of the New York Infirmary</i>. Wildenstein & Co. (organizer) (March 22-April 29, 1950).", "opening_date": "1950-03-22T05:00:00"}, {"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": 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": 338393, "title": "Youthful Works by Great Artists", "description": "<i>Youthful Works by Great Artists</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (March 10-30, 1963).", "opening_date": "1963-03-10T05:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 338396, "title": "Renoir", "description": "<i>Renoir</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 3-April 1, 1973).", "opening_date": "1973-02-03T05:00:00"}, {"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": 343639, "title": "Renoir", "description": "<i>Renoir</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (January 30-April 21, 1985); Galeries Nationales du Grand Palais, 75008 Paris, France (May 14-September 2, 1985); Museum of Fine Arts, Boston, Boston, MA (October 9, 1985-January 5, 1986).", "opening_date": "1985-01-30T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"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": 211403, "title": "Renoir's Portraits:  Impressions of an Age", "description": "<i>Renoir's Portraits:  Impressions of an Age</i>. National Gallery of Canada (organizer) (June 27-September 14, 1997); The Art Institute of Chicago (October 17, 1997-January 4, 1998); Kimbell Art Museum (February 8-April 26, 1998).", "opening_date": "1997-06-27T00:00:00"}, {"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": 207204, "title": "Manet/Vel\u00e1zquez: The French Taste for Spanish Painting", "description": "<i>Manet/Vel\u00e1zquez: The French Taste for Spanish Painting</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 25-June 29, 2003).", "opening_date": "2003-02-25T00:00:00"}, {"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": 216824, "title": "Renoir's Women", "description": "<i>Renoir's Women</i>. Columbus Museum of Art, Columbus, OH (organizer) (September 23, 2005-January 15, 2006).", "opening_date": "2005-09-23T00:00:00"}, {"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"}], "legacy": [{"description": "<em>Exposition de la jeunesse vue par les ma\u00eetres fran\u00e7ais et \u00e9trangers du XVIe au XIXe si\u00e8cle.</em> Paris, H\u00f4tel Jean Charpentier, Paris, France (1928.", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>French Art 1200-1900.</em> London, Royal Academy of Arts, London, United Kingdom (1932).", "opening_date": "1932-01-01T00:00:00"}, {"description": "<em>Exposition Renoir 1841-1919.</em> Paris, Mus\u00e9e de L'Orangerie, Paris, France (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>Centennial Loan Exhibition 1841-1941: Renoir.</em> Duveen Galleries, New York, NY (1941).", "opening_date": "1941-01-01T00:00:00"}]}, "provenance": [{"description": "Lacaux family, Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Edmond Decap, Paris, France, by descent to Mme. Maruice Barret-Decap", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Mme. Maurice Barret-Decap, Paris, France", "citations": [], "footnotes": null, "date": "-1929", "sortorder": 3}, {"description": "(Drouot, Paris, France, December 12, 1929, lot 12, Barret-Decap Sale, sold to Roger Berheim)", "citations": [], "footnotes": null, "date": "1929-1941", "sortorder": 4}, {"description": "(Roger Bernheim, Paris, France, sold to Jacques Seligmann & Co.,)", "citations": [], "footnotes": null, "date": "by 1941", "sortorder": 5}, {"description": "(Jacques Seligmann & Co., New York, NY, December 2, 1941, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1941-1942", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1942-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The son of a poor tailor from Limoges, Renoir began his artistic career at age 13 as an apprentice to a porcelain painter.", "description": "This painting may be Renoir's earliest signed canvas. Its sensitive display of color and light communicates an ideal of delicate, youthful beauty. The luminous tones of the background drapery and of the child's white blouse result from the artist's careful observation of reflected light and color on translucent materials. The delicate nuances of color, particularly in the young girl's face, reveal Renoir's previous training as a decorator of porcelain. He painted this portrait, commissioned by the vacationing Lacaux family, during his stay at an artist's colony in the village of Barbizon, near Paris.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q15880875"], "internet_archive": ["https://archive.org/details/clevelandart-1942.1065-romaine-lacaux"]}, "citations": [{"citation": "<em>Revue de l'Art Ancien et Moderne</em> 751 (September/October 1928): cover.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Hotel Drouot. \"Auction. December 12, 1929.\" <em>ARTnews</em> 28, no. 7 (16 November, 1929): 11.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Hotel Drouot. \"Auction. December 12, 1929.\" <em>ARTnews</em> 28, no. 8 (23 November, 1929): 11.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Imbourg, Pierre. \"The B . . . D . . .Collection.\" <em>Formes; An International Art Review </em>1 (December 1929): 20-21.", "page_number": "Mentioned: p. 20-21; reproduced: opp. p. 18", "url": null}, {"citation": "Royal Academy of Arts (Great Britain). <em>Commemorative Catalogue of the Exhibition of French Art, 1200-1900</em>. London, UK: Oxford University Press, H. Milford, 1933.", "page_number": "Reproduced: p. 109, no.479", "url": null}, {"citation": "\"Noel 1933.\"<em> L'Illustration: Journal Universel</em> (1933): 49.", "page_number": "Reproduced: p.49", "url": null}, {"citation": "Barnes, Albert C., and Violette De Mazia. <em>The Art of Renoir</em>. New York, NY: Minton, Balch &amp; Co, 1935.", "page_number": "Reproduced: p. 255", "url": null}, {"citation": "Florisoone, Michel, Frederic Lees, and Andre\u0301 Gloeckner. <em>Renoir</em>. New York, NY: French and European Publications, Inc, 1938.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "Wilenski, R. H. <em>Modern French Painters</em>. New York, NY: Reynal &amp; Hitchcock, 1940.", "page_number": "Reproduced: p. 339", "url": null}, {"citation": "Frankfurter, Alfred M. \"Celebrating Renoir's Centenary: A Bright Galaxy.\" <em>ARTnews</em> 40 (15-30 November 1941): 16-21.", "page_number": "Mentioned and reproduced: p. 16-21.", "url": null}, {"citation": "Francis, Henry S. \"Melle Romaine Lacaux by Renoir.\" The Bulletin of the Cleveland Museum of Art XXX, no. 6 (June, 1943): 92-98.", "page_number": "Reproduced: p. 86", "url": null}, {"citation": "Richardson, E. P. \"Mlle. Romaine Lacaux by Renoir.\" <em>The Art Quarterly</em> 6, no. 2 (Spring 1943): 150, 156.", "page_number": "Mentioned: p. 156; reproduced: p. 150", "url": null}, {"citation": "Davidson, Alfred. \"Cleveland Buys Goya and Renoir Portraits.\" <em>Art Digest </em>17, no. 17 (1 June 1943): 7.", "page_number": "Mentioned and reproduced: p. 7", "url": null}, {"citation": "\"Renoir and Goya Meet in Cleveland.\" <em>ARTnews</em> 42, no. 8 (June/July 1943): 35.", "page_number": "Mentioned and reproduced: p.35", "url": null}, {"citation": "<em>ARTnews</em> 42, no. 17 (15-31 January 1944): cover.", "page_number": "Reproduced: cover", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 36", "url": "https://archive.org/details/CMAPaintings1945/page/n44"}, {"citation": "Vaudoyer, Jean-Louis. <em>Les impressionnistes de Manet a\u0300 Ce\u0301zanne</em>. Paris, FR: Nouvelles e\u0301ditions franc\u0327aises, 1948.", "page_number": "Reproduced: p. 50", "url": null}, {"citation": "Zahar, Marcel. <em>Renoir</em>. New York, NY: Authentic Publications, 1948.", "page_number": "Figs. 1, 3", "url": null}, {"citation": "<em>ARTnews Annual 1948</em>. New York, N.Y.: Newsweek, Inc, 1948.", "page_number": "Reproduced: p. 75", "url": null}, {"citation": "Paul Rosenberg &amp; Co. <em>Loan Exhibition of 21 Masterpieces by 7 Great Masters ... for the Benefit of the Public Education Association, November 15th to December 18th, 1948</em>. New York, N.Y.: P. Rosenberg &amp; Co, 1948.", "page_number": "Mentioned and Reproduced: cat. no. 4", "url": null}, {"citation": "<em>Pictures on Exhibit </em>11, no. 3 (December 1948): cover.", "page_number": "Reproduced: cover", "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, FR: Unesco, 1949.", "page_number": "Reproduced: p. 297", "url": null}, {"citation": "<em>ARTnews Annual 1948-1949</em>. New York, N.Y.: Newsweek, Inc, 1949.", "page_number": "Reproduced: p. 188", "url": null}, {"citation": "Pach, Walter. <em>Pierre Auguste Renoir</em>. New York, NY: H.N. Abrams, 1950.", "page_number": "Reproduced: p. 32-33", "url": null}, {"citation": "Venturi, Lionello. <em>Impressionists and Symbolists: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cezanne, Seurat, Gauguin, Van Gogh, Toulouse-Lautrec</em>. New York, NY: Scribner, 1950.", "page_number": "Reproduced: p. 93, fig. 92", "url": null}, {"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>. 1950.", "page_number": "Mentioned: cat. no. 1, Reproduced: frontispiece", "url": null}, {"citation": "Towndrow, Kenneth Romney. \u201cFrench Painters.\u201d <em>Apollo: The International Magazine for Collectors</em> 55 (February 1952): 43\u201348.", "page_number": "Reproduced: p. 45", "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. 501", "url": "https://archive.org/details/CMAHandbook1958/page/n92"}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: no. 72", "url": null}, {"citation": "<em>Encyclopedia of World Art</em>. New York: McGraw-Hill, 1959.", "page_number": "Mentioned: vol. 12, p. 162", "url": null}, {"citation": "Seligman, Germain. <em>Merchants of Art: 1880-1960; Eighty Years of Professional Collecting</em>. New York, NY: Appleton-Century-Crofts, 1962.", "page_number": "Reproduced: pl. 93", "url": null}, {"citation": "Rostrup, Haavard. \"Studier I Fransk Portraetmaleri: Renoir og Bonnard.\" <em>Meddelelser fra Ny Carlsberg Glyptotek </em>20 (1963): 1-24.", "page_number": "Mentioned: p. 8; reproduced: p. 3", "url": null}, {"citation": "Saisselin, Re\u0301my G. <em>Style, Truth, and the Portrait</em>. [Cleveland]: Cleveland Museum of Art, 1963.", "page_number": "Reproduced: cat. no. 88.", "url": null}, {"citation": "Stechow, Wolfgang. \"A Symposium Honoring Professor Wolfgang Stechow : Youthful Works by Great Artists.\" <em>Bulletin / Allen Memorial Art Museum / Allen Memorial Art Museum</em>20.1963, 77-220 : Ill. ; 8 (1963).", "page_number": "Mentioned and Reproduced: cat. no. 24", "url": null}, {"citation": "Henning, Edward B. \"From Turner to Guston.\" <em>Apollo: A Journal of the Arts </em>78 (December 1963): 184-488.", "page_number": "Reproduced: p. 484", "url": null}, {"citation": "Lambourne, Nigel. <em>Renoir: Paintings, Drawings, Lithographs, and Etchings</em>. London, UK: Folio Society, 1965.", "page_number": "Reproduced: pl. 2", "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. 173", "url": "https://archive.org/details/CMAHandbook1966/page/n197"}, {"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. 173", "url": "https://archive.org/details/CMAHandbook1969/page/n197"}, {"citation": "Cabanne, Pierre. <em>Renoir.</em> [Paris]: Re\u0301alite\u0301s-Hachette, 1970.", "page_number": "Mentioned and reproduced: p. 46-47", "url": null}, {"citation": "Daulte, Franc\u0327ois. <em>Auguste Renoir: catalogue raisonne\u0301 de l'\u0153uvre peint</em>. Lausanne: Durand-Ruel, 1971.", "page_number": "Reproduced: p. 33, vol. 1 no. 12", "url": null}, {"citation": "Fezzi, Elda. <em>L'opera completa di Renoir nel periodo impressionista, 1869-1883.</em> Milano: Rizzoli, 1972.", "page_number": "Reproduced: p. 89, fig. 7", "url": null}, {"citation": "Daulte, Franc\u0327ois. <em>Auguste Renoir</em>. Milano, IT: Fratelli Fabbri Editori, 1972.", "page_number": "Reproduced: p. 74, fig. 1864", "url": null}, {"citation": "Champa, Kermit Swiler. <em>Studies in Early Impressionism</em>. New Haven, CT: Yale University Press, 1973.", "page_number": "Reproduced: p. 49, pl. 16, mentioned: p. 34-38", "url": null}, {"citation": "Renoir, Auguste, and John Maxon. <em>Paintings by Renoir</em>. [Chicago]: Art Institute of Chicago, 1973.", "page_number": null, "url": null}, {"citation": "Kuroe, Mitsuhiko. <em>Renoir</em>. Tokyo, Japan: Shincho-sha, 1974.", "page_number": "Reproduced: no. 1", "url": null}, {"citation": "Wheldon, Keith, and Auguste Renoir. <em>Renoir and His Art</em>. London, UK: Hamlyn, 1975.", "page_number": "Reproduced: p. 12, pl. 4", "url": null}, {"citation": "Pach, Walter. <em>Auguste Renoir: Leben und Werk</em>. Ko\u0308ln, Germany: Verlag M. DuMont Schauberg, 1976.", "page_number": "Reproduced: p. 61, pl. 1", "url": null}, {"citation": "De Mazia, Violette. \"E Pluribus Unum--Cont'd: Part IV.\" <em>Journal of the Art Department </em>8, no. 2 (Autumn 1977): 3-42.", "page_number": "Mentioned: p. 5; reproduced: pl.4", "url": null}, {"citation": "Callen, Anthea. <em>Renoir</em>. London, UK: Oresko Books,1978.", "page_number": "Reproduced: p. 7, fig. 1", "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. 215", "url": "https://archive.org/details/CMAHandbook1978/page/n235"}, {"citation": "Moulin, Jean-Marie. \"The Art of the Second Empire.\" <em>The Magazine Antiques </em>114, no. 4 (October 1978): 776-783.", "page_number": "Reproduced: p. 777", "url": null}, {"citation": "Galeries nationales du Grand Palais (France), Philadelphia Museum of Art, Detroit Institute of Arts, and Re\u0301union des muse\u0301es nationaux (France). <em>L'Art en France sous le Second Empire: [exposition], Grand Palais, 11 mai-13 aou\u0302t 1979</em>. Paris: La Re\u0301union, 1979.", "page_number": "Mentioned: cat. no. VI, Reproduced: p. 348-9", "url": null}, {"citation": "Harris, Nathaniel. <em>A Treasury of Impressionism</em>. London, UK: Optimum, 1979.", "page_number": null, "url": null}, {"citation": "<em>Renoir: </em>Hayward Gallery, London, UK, January 30 - April 21, 1985, Galeries nationales du Grand Palais, Paris, FR, May 14 - September 2, 1985, Museum of Fine Arts, Boston, MA. October 9 -January 5, 1986. Paris, FR: Re\u0301union des muse\u0301es nationaux, 1985.", "page_number": "Referenced: cat. no. 1, p. 182, Reproduced: p. 37, 182", "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: cat. no. 1, 37,182", "url": null}, {"citation": "Tinterow, Gary, and Henri Loyrette. <em>Origins of Impressionism</em>. 1994.", "page_number": "Reproduced: p. 254-255", "url": null}, {"citation": "Drucker, Michel. <em>Renoir</em>. Paris, FR: P. Tisne\u0301, 1944.", "page_number": "Reproduced: p. 25, pl. 2", "url": null}, {"citation": "Renoir's Portraits: Impressions of an Age (Exhibition), Auguste Renoir, Colin B. Bailey, John Bruce Collins, Linda Nochlin, and Anne Distel. <em>Renoir's Portraits: Impressions of an Age</em>. New Haven: Yale University Press, 1997.", "page_number": "Mentioned and Reproduced: cat. no. 3, p. 21-23, 94-96, 268", "url": null}, {"citation": "Johnston, Sona.<em> Faces of Impressionism: Portraits from American Collections</em>. New York, NY : Rizzoli, 1999.", "page_number": "Reproduced: p. 145, cat. no. 53", "url": null}, {"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. 526-529, Vol. II, no. 184", "url": ""}, {"citation": "Joannides, Paul. <em>Renoir: sa vie, son oeuvre</em>. Courbevoie, FR: Soline, 2000.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "<em>Sekai bijutsukan no tabi</em>. To\u0304kyo\u0304, Japan: Sho\u0304gakukan, 2002.", "page_number": "Reproduced: p. 310", "url": null}, {"citation": "Tinterow, Gary, Genevie\u0300ve Lacambre, and Deborah L. Rolda\u0301n. <em>Manet/Vela\u0301zquez: The French Taste for Spanish Painting</em>. New York, NY: Metropolitan Museum of Art, 2003.", "page_number": "Reproduced: p. 516, fig. 1.64, p. 64", "url": null}, {"citation": "Pach, Walter, and Auguste Renoir. <em>Pierre Auguste Renoir</em>. New York, NY: Harry N. Abrams, Publishers, 2003.", "page_number": "Reproduced: p. 48-49", "url": null}, {"citation": "Fahy, Everett, Elizabeth E. Barker, and Jayne Wrightsman. <em>The Wrightsman pictures</em>. New York, NY: Metropolitan Museum of Art, 2005.", "page_number": "Reproduced: p. 181", "url": null}, {"citation": "Dumas, Ann, and John Bruce Collins. <em>Renoir's Women</em>. London, UK: Merrell, 2005.", "page_number": "Reproduced: p. 41, fig. 26", "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. 9", "url": "https://archive.org/details/CMAMM2005-05/page/8"}, {"citation": "Kagawa, Kyo\u0304ko. <em>Runowa\u0304ru</em>. To\u0304kyo\u0304, Japan: Sho\u0304gakukan, 2006.", "page_number": "Reproduced: p. 74", "url": null}, {"citation": "Dauberville, Guy-Patrice, Michel Dauberville, and Camille Fre\u0301montier-Murphy. <em>Renoir: catalogue raisonne\u0301 des tableaux, pastels, dessins et aquarelles</em>. Paris, FR: E\u0301ditions Bernheim-Jeune, 2007.", "page_number": "Reproduced: p. 485, fig. 489", "url": null}, {"citation": "\"Off the Walls.\" <em>Fine Art Connoisseur </em>5, no. 5 (September/October 2008):67-71.", "page_number": "Mentioned and reproduced: p. 71", "url": null}, {"citation": "Thomas, Greg M. <em>Impressionist Children: Childhood, Family, and Modern Identity in French Art</em>. New Haven, CT: Yale University Press, 2010.", "page_number": "Reproduced: p. 9, fig. 10", "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": "\"Auf der Such nach dem Museumparkplatz.\" <em>Weltkuns</em>t. 154 (march 2019): 68", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" CAN Journal (Winter 2019/20): 76-87.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "Robinson, William H. \u201cPortrait of Renoir.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 4 (Fall 2021): 28.", "page_number": "Reproduced and mentioned: p. 28", "url": "https://archive.org/details/CMAMM2021-04"}], "url": "https://clevelandart.org/art/1942.1065", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.1065/1942.1065_web.jpg", "width": "716", "height": "900", "filesize": "245264", "filename": "1942.1065_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.1065/1942.1065_print.jpg", "width": "2706", "height": "3400", "filesize": "3262188", "filename": "1942.1065_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.1065/1942.1065_full.tif", "width": "11255", "height": "14143", "filesize": "477570348", "filename": "1942.1065_full.tif"}}, "alternate_images": [{"date_created": "2006-04-10T17:59:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt0_web.jpg", "width": "714", "height": "893", "filesize": "117970"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt0_print.jpg", "width": "2708", "height": "3400", "filesize": "5893608"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt0_full.tif", "width": "3983", "height": "5000", "filesize": "59776132"}}, {"date_created": "2017-05-08T11:39:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt1_web.jpg", "width": "900", "height": "675", "filesize": "249889"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "3517867"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt1_full.tif", "width": "16000", "height": "12000", "filesize": "576031536"}}, {"date_created": "2017-05-08T11:31:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt2_web.jpg", "width": "900", "height": "675", "filesize": "228052"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt2_print.jpg", "width": "3400", "height": "2550", "filesize": "3081699"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt2_full.tif", "width": "16000", "height": "12000", "filesize": "576030924"}}], "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": 121188, "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": "1942-12-02T00:00:00", "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": ["Mlle. Romaine Lacaux"], "is_highlight": true, "updated_at": "2026-05-01 06:48:17.733000"}, {"id": 88940, "accession_number": "2020.104", "share_license_status": "Copyrighted", "tombstone": "The Port of l'Estaque, the Pier, 1906. Georges Braque (French, 1882\u20131963). Oil on canvas; unframed: 59.7 x 73 cm (23 1/2 x 28 3/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.104. \u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "current_location": "223 20th Century Avant-Garde", "title": "The Port of l'Estaque, the Pier", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["France, early 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 59.7 x 73 cm (23 1/2 x 28 3/4 in.)", "dimensions": {"unframed": {"height": 0.597, "height_inch": 23, "height_inch_fraction": 0.5, "width": 0.73, "width_inch": 28, "width_inch_fraction": 0.75}, "framed": {"height": 0.803, "height_inch": 31, "height_inch_fraction": 0.625, "width": 0.93, "width_inch": 36, "width_inch_fraction": 0.625, "depth": 0.083, "depth_inch": 3, "depth_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "inscriptions": [], "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"}], "legacy": [{"description": "(Possibly) <em>Salon des Independents. </em>Paris, France (1907). (possibly no. 723 or 725)", "opening_date": "1907-01-01T00:00:00"}, {"description": "<em>Georges Braque</em>. Haus der Kunst, Munich, Germany (October \u2013 December 1963)", "opening_date": "1963-12-01T00:00:00"}, {"description": "<em>Chefs d'Oeuvres des Collections Suisses</em>. Palais de Beaulieu, Lausanne, Switzerland (1964).", "opening_date": "1964-01-01T00:00:00"}, {"description": "<em>Le Fauvism francais et les debuts de l'Expressionisme allemande.</em> Musee Nationale d'Art Modern, Paris, France (January \u2013 March 1966); Haus der Kunst, Munich, Germany (March \u2013 May 1966).", "opening_date": "1966-03-01T00:00:00"}]}, "provenance": [{"description": "(Galerie Kahnweiler, Paris, France, no. K1141)", "citations": [], "footnotes": ["<div><!--block-->According to George Isarlov, <em>Georges Braque</em> (Paris: J. Corti, 1932), p. 14.</div>"], "date": null, "sortorder": 1}, {"description": "Wilhelm Uhde [1874\u20131947], Paris, France", "citations": [], "footnotes": ["<div><!--block-->According to the 1997 Christie\u2019s sale catalogue.</div>"], "date": null, "sortorder": 2}, {"description": "Possibly Paul Roemer, Berlin, Germany", "citations": [], "footnotes": ["<div><!--block-->A label on back of the painting notes, \u201cPaul Roemer, Bellevuestr. 10, Berlin W9 59 Braque\u201d. Paul Roemer (1878-1945) was an art dealer in Berlin. Roemer\u2019s gallery was located at 10 Bellevuestrasse, L\u00fctzowplatz, from 1938 to 1939.&nbsp;</div>"], "date": "about 1938", "sortorder": 3}, {"description": "Dr. A. Fuchs, Berlin, Germany", "citations": [], "footnotes": [], "date": "1950s", "sortorder": 4}, {"description": "possibly by descent in the family", "citations": [], "footnotes": ["<div><!--block-->According to the 1997 Christie\u2019s sale catalogue. A label on the back of the painting gives the name \u201cDr. A. Fuchs\u201d as the lender to the Haus der Kunst Fauves-Expressionisten exhibition, cat. no. 8.&nbsp;</div>"], "date": "", "sortorder": 5}, {"description": "Private German Collector", "citations": [], "footnotes": null, "date": null, "sortorder": 6}, {"description": "(Christie\u2019s, London, December 9, 1997, lot 24, sold to a private collector)", "citations": [], "footnotes": null, "date": "December 9, 1997", "sortorder": 7}, {"description": "(C&M Arts, New York, NY, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": null, "date": "before 2013", "sortorder": 8}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "before 2013\u20132020", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inspired by the light and atmosphere of Port of l'Estaque, Braque wrote, \u201cIt\u2019s there that I felt all the elation. All the joy, welling up inside me.\u201d", "description": "Early in his career, Georges Braque was a member of the French Fauves (\u201cwild beasts\u201d), a group of artists active between 1905 and 1908. Their principal aim was to liberate color from its descriptive role and instead to use it for purely expressive purposes. Braque painted this marine view during his first visit to the south of France when he was 24 years old. His excitement is felt in the undulating hills and short, powerful brushstrokes, often applied in complementary color contrasts.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480998"], "internet_archive": []}, "citations": [{"citation": "Isarlov, George. <em>Georges Braque</em>. Paris: Jos\u00e9 Corti, 1932.", "page_number": "Reproduced: no. 14", "url": null}, {"citation": "Zervos, Christian. \"Georges Braque.\" <em>Cahiers d' Art</em> VIII (1933): 1-15.", "page_number": "Reproduced: p. 10", "url": null}, {"citation": "Cooper, Douglas. <em>Georges Braque; Pra\u0308dikat des ICOM: \"agree</em>.\" Mu\u0308nchen, Germany: Franzis-Druck, 1963.", "page_number": "Reproduced: no. 7", "url": null}, {"citation": "Palais de Beaulieu (Lausanne, Suisse). Chefs d'oeuvres des collections suisses: de Manet a\u0300 Picasso. Lausanne: Skira, 1964.", "page_number": "Reproduced: no. 162", "url": null}, {"citation": "Hoog, Michel et al. <em>Le Fauvisme franc\u0327ais et les de\u0301buts de l'expressionnisme allemand. </em>Paris: Mus\u00e9e Nationale d'Art Moderne, 1966.", "page_number": "Mentioned: P. 35; Reproduced: P. 43, no.8", "url": null}, {"citation": "Pouillon, Nadine and Isabelle Monod-Fontaine. <em>Braque: \u0153uvres de Georges Braque, 1882-1963</em>. Paris: Centre Georges Pompidou, Muse\u0301e national d'art moderne, 1982.", "page_number": "Mentioned and Reproduced: P. 24-25", "url": null}, {"citation": "Freeman, Judi. <em>The Fauve Landscape</em>. Los Angeles: Los Angeles County Museum of Art, 1990.", "page_number": "Reproduced: p. 45, pl. 52", "url": null}, {"citation": "\"A Historic Gift: Highlights from the Keithley Gift,\" <em>Cleveland Museum of Art Members Magazine</em> (Summer 2020).", "page_number": "Mention and reproduction pp. 6-7.", "url": null}, {"citation": "\u201cA Historic Gift. Longtime CMA supporters Joseph and Nancy Keithley give 114 works, the largest gift in more than 60 years.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 3 (Summer 2020): Cover, 6-9.", "page_number": "Reproduced: P. 6; Mentioned: P. 7.", "url": ""}, {"citation": "Griswold, William M. \u201cRecent Acquisitions (2013-20) at the Cleveland Museum of Art.\u201d <em>Burlington Magazine </em>163, no. 1414 (January 2021): 93-104.", "page_number": "Mentioned and reproduced: P. 98, no. 9; mentioned: P. 93", "url": ""}, {"citation": "Robinson, William H. \"Modern European Painting.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 132-139, 142-149. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 142-143; Mentioned: p. 257-258", "url": ""}, {"citation": "Brown, Heather Lemonedes. \u201cColor, Sensation, and Memory: Themes in the Keithleys\u2019 gift and promised gift.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 3 (2022): Cover, 4-7.", "page_number": "Reproduced: P. 4; Mentioned: P. 4, 5", "url": "https://archive.org/details/CMAMM2022-03/page/4/mode/2up"}, {"citation": "\"Exhibitions: Transformative Gift.\" <em>Art &amp; Antiques </em>XLV, no. 10 (November 2022): 48-53.", "page_number": "Reproduced: p. 51", "url": ""}], "url": "https://clevelandart.org/art/2020.104", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 88940, "creators": [{"id": 3029, "description": "Georges Braque (French, 1882\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "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": "2026-05-01 06:45:43.877000"}, {"id": 169187, "accession_number": "2011.110", "share_license_status": "CC0", "tombstone": "Indian Combat, 1868. Edmonia Lewis (American, c. 1844\u20131907). Marble; overall: 76.2 x 48.3 x 36.5 cm (30 x 19 x 14 3/8 in.). The Cleveland Museum of Art, American Painting and Sculpture Sundry Purchase Fund and Purchase from the J. H. Wade Fund, 2011.110", "current_location": null, "title": "Indian Combat", "creation_date": "1868", "creation_date_earliest": 1868, "creation_date_latest": 1868, "artists_tags": ["female", "Black American Artists"], "culture": ["America"], "technique": "marble", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 76.2 x 48.3 x 36.5 cm (30 x 19 x 14 3/8 in.)", "dimensions": {"overall": {"height": 0.762, "height_inch": 30, "height_inch_fraction": 0.0, "width": 0.483, "width_inch": 19, "width_inch_fraction": 0.0, "depth": 0.365, "depth_inch": 14, "depth_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "The base of the sculpture is inscribed: \"EDMONIA LEWIS / FECIT A ROME 1868\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. The Cleveland Museum of Art, Cleveland, OH (organizer).", "opening_date": "2019-06-11T04:00:00"}, {"id": 685928, "title": "Edmonia Lewis: Said in Stone", "description": "<i>Edmonia Lewis: Said in Stone</i>. Peabody Essex Museum, Salem, MA (organizer) (February 14-June 7, 2026) https://www.pem.org/exhibitions/edmonia-lewis-said-in-stone; Georgia Museum of Art, Athens, GA (August 8, 2026-January 3, 2027); North Carolina Museum of Art, Raleigh, NC (April 3-July 11, 2027).", "opening_date": "2026-02-14T05:00:00"}], "legacy": []}, "provenance": [{"description": "[Unidentified antique/estate consignment shop, Newton, MA]", "citations": [], "footnotes": [], "date": "1950s", "sortorder": 1}, {"description": "William (1916-2006) and Betty (1926-2010) Bresnick, Weston, MA", "citations": [], "footnotes": null, "date": "1950s-2010", "sortorder": 2}, {"description": "[Gabriel's Auctioneers and Appraisers, Norwood, MA]", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}, {"description": "[Gerald Peters Gallery, New York]", "citations": [], "footnotes": null, "date": "2010-2011", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Growing up in her Ojibwe community, Lewis went by a name that translates as \"Wildfire.\"", "description": "A spiraling composition with three intertwined figures, <em>Indian Combat </em>ranks as Edmonia Lewis\u2019s most dynamic and complex creation. Although her Native American subjects typically exist in multiple versions, this example appears to be unique. Of Indigenous (Ojibwe) and African American ancestry, Edmonia Lewis studied at Oberlin College and apprenticed with a sculptor in Boston before moving to Rome in 1866. Her sculptures were readily purchased by patrons on both sides of the Atlantic.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780965"], "internet_archive": ["https://archive.org/details/clevelandart-2011.110-indian-combat"]}, "citations": [{"citation": "Ausherman, Maria, <em>Masters of Shape: The Lives and Art of American Women Sculptors. </em>(Novato, CA: Goff Books, 2022).", "page_number": "Mentioned and reproduced, p. 71.", "url": ""}, {"citation": "Wilder, Jesse Bryant, <em>Art History for Dummies.</em> 2nd edition. (Hoboken, NJ: John Wiley &amp; Sons, 2022).", "page_number": "Mentioned and reproduced, p. 272.", "url": ""}, {"citation": "\"Teach to Learn,\" <em>Cleveland Art</em> 59 (May/June 2019).", "page_number": "Mentioned and reproduced, p. 5.", "url": ""}, {"citation": "Richmond-Moll, Jeffrey, Shawnya L. Harris, et al. <em>Edmonia Lewis : Said in Stone</em>. Chicago: University of Chicago Press, 2026.", "page_number": "Mentioned, pp. 31-32, 103, 115, and 216.  Reproduced, p. 156.", "url": ""}, {"citation": "Richmond-Moll, Jeffrey, \"Edmonia Lewis: Said in Stone,\" <em>American Art Review</em> (February-April 2026).", "page_number": "Reproduced, p. 76.", "url": ""}, {"citation": "Huidekoper, Alfred. <em>Glimpses of Europe in 1851 and 1867-8</em>. Meadeville, Pa.: Printed for the Author, 1882.<br>Published as: <em>Indians Wrestling</em>", "page_number": "Mentioned: P. 184", "url": "https://catalog.hathitrust.org/api/volumes/oclc/30719924.html"}, {"citation": "Gerdts, William H. \"Celebrities of the Grand Tour: The American Sculptors in Florence and Rome.\" In <em>Lure of Italy: American Artists and the Italian Experience, 1760-1914. </em>Theodore E. Stebbins, ed., 66-93. Boston, MA: Museum of Fine Arts, Boston, 1992.", "page_number": "Mentioned: P. 89, as Indians Wrestling.", "url": null}, {"citation": "Litt, Steven. \"Museum Acquires Rare Sculpture.\" <em>The Plain Dealer </em>(November 11, 2011): B2.", "page_number": "Mentioned: P. B2", "url": null}, {"citation": "Cole, Mark. \"Indian Combat.\" In <em>Treasures of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art London; United Kingdom: Scala Books, 2012.", "page_number": "Mentioned and reproduced: p. 260-261", "url": null}, {"citation": "\"Museums.\" <em>The Art Newspaper </em>21 (January 2012): 13-25.", "page_number": "Mentioned and reproduced: P.25", "url": null}, {"citation": "Franklin, David. \"Recent Acquisitions (2005\u201411) at the Cleveland Museum of Art.\" <em>The Burlington Magazine</em> 154, no. 1312 (July 2012): 525-32.", "page_number": "Reproduced: P. 530", "url": "http://www.jstor.org/stable/23232806"}, {"citation": "Cole, Mark and Helen Forbes-Fields. <em>African American Art: The Cleveland Museum of Art</em>. [Cleveland, Ohio]: Cleveland Museum of Art, 2013.", "page_number": "reproduced: p.2; Mentioned: p.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. 49", "url": ""}, {"citation": "\"Education. Teach to Learn.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 3 (May/June 2019): 5-11.", "page_number": "Reproduced and Mentioned: P. 5", "url": "https://archive.org/details/CMAMM2019-03/page/n1/mode/2up"}, {"citation": "Woods, Naurice Frank. <em>Race and Racism in Nineteenth-Century Art: The Ascendency of Robert Duncanson, Edward Bannister, and Edmonia Lewis</em>. Jackson : University Press of Mississippi, 2021.", "page_number": "Mentioned and reproduced: p. 163-164, fig. 3.5", "url": ""}, {"citation": "Ware, Zaria. Blk Art: The Audacious Legacy of Black Artists and Models in Western Art. New York, NY : Harper Design, an imprint of HarperCollinsPublishers, 2023.", "page_number": "Reproduced: p. 171", "url": ""}, {"citation": "\"Meet Your Membership Team.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>65, no. 1 (2025): 36-37.", "page_number": "Reproduced: p. 36", "url": "https://archive.org/details/CMAMM-2025-01"}, {"citation": "Richmond-Moll, Jeffrey, Shawnya L. Harris, Amy Jones Abbe, Caitlin Meehye Beach, Gloria Jane Bell, Makeda Best, et al. <em>Edmonia Lewis : Said in Stone. </em>Salem, Massachusetts, Athens, Georgia, Chicago: Peabody Essex Museum ; Georgia Museum of Art, University of Georgia ; in association with The University of Chicago Press, 2026.", "page_number": "Mentioned, pp. 31-32, 103, 115, and 216.  Reproduced, p. 156.", "url": ""}, {"citation": "Richmond-Moll, Jeffrey. \u201cEdmonia Lewis: Said in Stone.\u201d <em>American Art Review</em> 212 (February-April 2026): 76-79.", "page_number": "Mentioned and reproduced: p. 76", "url": ""}, {"citation": "O'Hern, John. \u201cWhere There Is A Will.\u201d <em>American Fine Art Magazine</em>, n. 86 (March/April 2026): 38-43.", "page_number": "Reproduced: p. 43", "url": ""}], "url": "https://clevelandart.org/art/2011.110", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2011.110/2011.110_web.jpg", "width": "740", "height": "893", "filesize": "247827", "filename": "2011.110_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2011.110/2011.110_print.jpg", "width": "2817", "height": "3400", "filesize": "5543744", "filename": "2011.110_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2011.110/2011.110_full.tif", "width": "4193", "height": "5059", "filesize": "63688336", "filename": "2011.110_full.tif"}}, "alternate_images": [{"date_created": "2011-09-08T17:27:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt0_web.jpg", "width": "719", "height": "893", "filesize": "249191"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt0_print.jpg", "width": "2738", "height": "3400", "filesize": "5510805"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt0_full.tif", "width": "4058", "height": "5038", "filesize": "61391408"}}, {"date_created": "2011-09-09T12:57:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt1_web.jpg", "width": "689", "height": "893", "filesize": "239493"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt1_print.jpg", "width": "2623", "height": "3400", "filesize": "5237878"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt1_full.tif", "width": "3814", "height": "4942", "filesize": "56602428"}}, {"date_created": "2011-09-09T13:40:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt2_web.jpg", "width": "675", "height": "893", "filesize": "235308"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt2_print.jpg", "width": "2571", "height": "3400", "filesize": "5040763"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt2_full.tif", "width": "3830", "height": "5064", "filesize": "58243912"}}, {"date_created": "2011-09-09T14:19:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt3_web.jpg", "width": "765", "height": "893", "filesize": "281750"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt3_print.jpg", "width": "2912", "height": "3400", "filesize": "5972022"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt3_full.tif", "width": "4024", "height": "4698", "filesize": "56765440"}}, {"date_created": "2011-09-09T15:00:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt4_web.jpg", "width": "715", "height": "893", "filesize": "239003"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt4_print.jpg", "width": "2723", "height": "3400", "filesize": "5395016"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt4_full.tif", "width": "4015", "height": "5012", "filesize": "60418388"}}, {"date_created": "2011-09-09T15:22:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt5_web.jpg", "width": "743", "height": "893", "filesize": "247580"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt5_print.jpg", "width": "2830", "height": "3400", "filesize": "5579601"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt5_full.tif", "width": "4166", "height": "5004", "filesize": "62598328"}}], "creditline": "American Painting and Sculpture Sundry Purchase Fund and Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": "7723feae34eb441fa9f74dd330b7b7d5", "sketchfab_url": "https://sketchfab.com/models/7723feae34eb441fa9f74dd330b7b7d5", "gallery_donor_text": null, "athena_id": 169187, "creators": [{"id": 61503, "description": "Edmonia Lewis (American, c. 1844\u20131907)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1907", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-09-06T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868", "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": "2026-05-06 07:01:00.860000"}, {"id": 129221, "accession_number": "1952.113", "share_license_status": "CC0", "tombstone": "The Laundress, 1888. Henri de Toulouse-Lautrec (French, 1864\u20131901). Black and gray wash with white paint, scratched away in places, on gray cardboard prepared with white ground; sheet: 75.9 x 63.1 cm (29 7/8 x 24 13/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1952.113", "current_location": null, "title": "The Laundress", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black and gray wash with white paint, scratched away in places, on gray cardboard prepared with white ground", "support_materials": [{"description": "gray cardboard prepared with a white ground", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 75.9 x 63.1 cm (29 7/8 x 24 13/16 in.)", "dimensions": {"sheet": {"height": 0.759, "height_inch": 29, "height_inch_fraction": 0.875, "width": 0.631, "width_inch": 24, "width_inch_fraction": 0.8125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in brush and ink and black crayon: T-Lautrec; inscribed, on verso, upper center, in graphite: M", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361398, "title": "Toulouse-Lautrec: Exhibition Organized in Collaboration with the Albi Museum", "description": "<i>Toulouse-Lautrec: Exhibition Organized in Collaboration with the Albi Museum</i>. Philadelphia Museum of Art (organizer) (October 29-December 11, 1955); The Art Institute of Chicago, Chicago, IL (January 2-February 15, 1956).", "opening_date": "1955-10-29T04:00:00"}, {"id": 360866, "title": "Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs", "description": "<i>Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs</i>. The Museum of Modern Art, New York, NY (organizer) (March 20-May 6, 1956).", "opening_date": "1956-03-20T05:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 519406, "title": "French Drawings of the 1800's", "description": "<i>French Drawings of the 1800's</i>. University of Michigan Museum of Art, Ann Arbor, MI (organizer) (April 22-May 29, 1962).", "opening_date": "1962-04-22T05:00:00"}, {"id": 361400, "title": "A Generation of Draughtsmen", "description": "<i>A Generation of Draughtsmen</i>. University of Michigan Museum of Art, Ann Arbor, MI (organizer) (April 25-May 29, 1962).", "opening_date": "1962-04-25T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 361401, "title": "Toulouse-Lautrec", "description": "<i>Toulouse-Lautrec</i>. Wildenstein & Co., New York, NY (February 7-March 14, 1964).", "opening_date": "1964-02-07T05:00:00"}, {"id": 361386, "title": "19th and 20th Century Drawings", "description": "<i>19th and 20th Century Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 19-March 24, 1965).", "opening_date": "1965-02-19T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 361402, "title": "Henri de Toulouse-Lautrec, 1864-1901", "description": "<i>Henri de Toulouse-Lautrec, 1864-1901</i>. MAK, the \u00d6sterreichisches Museum f\u00fcr angewandte Kunst/Gegenwartskunst, Vienna, Austria (organizer).", "opening_date": "1966-06-01T04:00:00"}, {"id": 516254, "title": "Henri de Toulouse-Lautrec", "description": "<i>Henri de Toulouse-Lautrec</i>. MAK, the \u00d6sterreichisches Museum f\u00fcr angewandte Kunst/Gegenwartskunst, Vienna, Austria (June 2-July 31, 1966).", "opening_date": "1966-06-02T04:00:00"}, {"id": 302152, "title": "The Vocabulary of Prints", "description": "<i>The Vocabulary of Prints</i>. The Cleveland Museum of Art, Cleveland, OH (July 29-December 31, 1975).", "opening_date": "1975-07-29T04:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 361399, "title": "Vincent van Gogh and the Birth of Cloisonism", "description": "<i>Vincent van Gogh and the Birth of Cloisonism</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (January 24-March 22, 1981); Rijksmuseum, Amsterdam, Netherlands (April 9-June 14, 1981).", "opening_date": "1981-01-24T05:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"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"}, {"id": 371563, "title": "Degas and the Laundress: Women, Work, and Impressionism", "description": "<i>Degas and the Laundress: Women, Work, and Impressionism</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2023-January 14, 2024).", "opening_date": "2023-10-08T04:00:00"}], "legacy": [{"description": "<em>Henri de Toulouse-Lautrec, 1864\u20131901</em>. \u00d6sterreichisches Museum f\u00fcr Angewandte Kunst, Vienna (June\u2013July 1966).", "opening_date": "1966-07-01T00:00:00"}]}, "provenance": [{"description": "Roger Marx [1859\u20131913], Paris", "citations": [], "footnotes": ["<div><!--block-->Marx's stamp (not in Lugt) was on an old backing board, now lost, recorded in CMA files.</div>"], "date": "?-1914", "sortorder": 1}, {"description": "(his sale, Galerie Manzi-Joyant, Paris, May 11\u201312, 1914, no. 222, sold to Simon Oppenheimer)", "citations": [], "footnotes": ["<div><!--block-->Sold for 7,000 F, according to annotated sale catalogue, Institut National d'Histoire de l'Art, Paris.</div>"], "date": "1914", "sortorder": 2}, {"description": "(Simon Oppenheimer, Germany, sold to Otto Gerstenberg, Berlin)", "citations": [], "footnotes": null, "date": "After 1914", "sortorder": 3}, {"description": "Otto Gerstenberg [1848\u20131935], Berlin, by descent to Margarethe Scharf, Berlin", "citations": [], "footnotes": null, "date": "1914-1935", "sortorder": 4}, {"description": "Margarethe Scharf [1889\u20131961], Berlin", "citations": [], "footnotes": null, "date": "1935-1936", "sortorder": 5}, {"description": "Deposited in Statens Museum for Kunst, Copenhagen", "citations": [], "footnotes": null, "date": "1936-1950", "sortorder": 6}, {"description": "(Jean-Pierre Durand-Matthiesen, Geneva)", "citations": [], "footnotes": null, "date": "1951-1952", "sortorder": 7}, {"description": "(M. Knoedler & Co., New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Inventory no. WCA1442. M. Knoedler &amp; Co. records, Getty Research Institute Special Collections.</div>"], "date": "1952", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1952-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To create this drawing, Henri de Toulouse-Lautrec painted a board white and then both scraped the material away in areas and drew with black ink to create a variety of tones throughout the image.", "description": "Henri de Toulouse-Lautrec produced this drawing to illustrate an article about Parisian summers. It presents the type of poorly paid worker who remained in the city while others traveled to escape the urban heat. Because the image was to be reproduced in black and white, Toulouse-Lautrec thinned and brushed ink, scraping into it to expose fine white highlights. Like several artworks in Cleveland\u2019s collection, the drawing was formerly owned by Roger Marx, a French collector, curator, and art critic who built perhaps the most substantial holdings of Toulouse-Lautrec\u2019s work around the turn of the century.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780947"], "internet_archive": ["https://archive.org/details/clevelandart-1952.113-the-laundress"]}, "citations": [{"citation": "Michelet, \u00c9mile. \u201cL\u2019\u00c9t\u00e9 \u00e0 Paris.\u201d <em>Paris illustr\u00e9</em> 6 (1888).", "page_number": "Reproduced: p. 425", "url": null}, {"citation": "<em>Catalogue des tableaux, pastels, dessins, aquarelles </em>[. . .] <em>faisant partie de la collection Roger Marx</em>. Paris: Galerie Manzi-Joyant, 1914.", "page_number": "Mentioned: p. 105, no. 222; Reproduced: n.p.", "url": "bibliotheque-numerique.inha.fr/idviewer/22422/122"}, {"citation": "Astre, Achille. <em>H. de Toulouse-Lautrec</em>. Paris: Nilsson, 1926.", "page_number": "Mentioned: p. 96", "url": null}, {"citation": "Joyant, Maurice. <em>Henri de Toulouse-Lautrec, 1964\u20131901: Dessins, estampes, affiches</em>. Paris: H. Floury, 1927.", "page_number": "Mentioned: pp. 191, 279; Reproduced: p. 17", "url": null}, {"citation": "Mack, Gerstle. <em>Toulouse-Lautrec</em>. New York: Alfred A. Knopf, 1938.", "page_number": "Mentioned: p. 293", "url": null}, {"citation": "Francis, Henry S. \"La Blanchisseuse by Toulouse-Lautrec.\" <em>Bulletin of the Cleveland Museum of Art</em> 40, no. 3 (March 1953): 51-53.", "page_number": "Mentioned and reproduced: pp. 51-53", "url": null}, {"citation": "Neugass, Fritz. \"Henri de Toulouse-Lautrec und der Kunstmarkt.\" <em>Weltkunst</em> 34 (March 1953): 139.", "page_number": "Mentioned and reproduced: p. 139", "url": null}, {"citation": "<em>Toulouse-Lautrec: Exhibition Organized in Collaboration with the Albi Museum</em>. Exh. cat. Philadelphia: Philadelphia Museum of Art, 1955.", "page_number": "Reproduced: no. 85", "url": null}, {"citation": "<em>Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs</em>. Exh. cat. New York: Museum of Modern Art, 1956.", "page_number": "Mentioned: p. 46, no. 51", "url": null}, {"citation": "Perruchot, Henri. <em>La vie de Toulouse-Lautrec</em>. Paris: Hachette, 1958.", "page_number": "Mentioned: p. 139", "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. 605", "url": "https://archive.org/details/CMAHandbook1958/page/n113"}, {"citation": "<em>In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned: no. 108", "url": null}, {"citation": "Julien, Edouard, and Henri Focillon. <em>Dessins de Toulouse-Lautrec.</em> Lausanne: Mermod, 1959.", "page_number": "Mentioned: p. 68, under no. 17", "url": null}, {"citation": "<em>Collection M. L.: Ensemble exceptionnel d'estampes originales, livres illustre\u0301s, important dessin aux crayons de couleur de Henri de Toulouse-Lautrec</em>. Paris: Galerie Charpentier, 1959.", "page_number": "Mentioned: under no. 257", "url": null}, {"citation": "<em>A Generation of Draughtsmen.</em> Exh. cat. Ann Arbor: University of Michigan Museum of Art, 1962.", "page_number": "Mentioned and reproduced: no. 156, pl. XIIc (ill.)", "url": null}, {"citation": "Negri, Renata.<em> Toulouse-Lautrec, I maestri del colore</em>. Milan: Fabbri, 1964.", "page_number": "Reproduced: fig. 4", "url": null}, {"citation": "Huisman, Philippe and M. G. Dortu. <em>Lautrec by Lautrec</em>. New York: Galahad, 1964.", "page_number": "Mentioned and reproduced: p. 253", "url": null}, {"citation": "<em>Toulouse-Lautrec</em>. Exh. cat. New York: Wildenstein, 1964.", "page_number": "Mentioned and reproduced: no. 64", "url": ""}, {"citation": "Neugass, Fritz. \u201cHenri de Toulouse-Lautrec und der Kunstmarkt.\u201d <em>Weltkunst</em> 34, no. 5 (March 1, 1964).", "page_number": "Reproduced: p. 139", "url": ""}, {"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. 179", "url": "https://archive.org/details/CMAHandbook1966/page/n203"}, {"citation": "<em>Henri de Toulouse-Lautrec, 1864\u20131901</em>. Exh. cat. Vienna: \u00d6sterreichisches Museum f\u00fcr Angewandte Kunst, 1966.", "page_number": "Mentioned: p. 66, no. 39", "url": null}, {"citation": "Novotny, Fritz. <em>Toulouse-Lautrec</em>. Translated by Michael Glenney. London: Phaidon, 1969.", "page_number": "Mentioned: p. 184, no. 15; Reproduced: plate 15", "url": null}, {"citation": "Sugana, G. M. <em>The Complete Paintings of Toulouse-Lautrec</em>. New York: Harry N. Abrams, 1969.", "page_number": "Mentioned and reproduced: p. 101, no. 223", "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. 179", "url": "https://archive.org/details/CMAHandbook1969/page/n203"}, {"citation": "Dortu, M. G. <em>Toulouse-Lautrec et son \u0153uvre</em>. New York: Collectors Editions, 1971.", "page_number": "Mentioned: vol. 5, p. 492, no. D3.029; Reproduced: p. 493", "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. 222", "url": "https://archive.org/details/CMAHandbook1978/page/n242"}, {"citation": "Thomson, Richard. <em>Toulouse-Lautrec</em>. London: Universal Books, 1980.", "page_number": "Mentioned: p. 46", "url": null}, {"citation": "Welsh-Ovcharov, Bogomila. <em>Vincent van Gogh and the Birth of Cloisonism</em>. Exh. cat. Toronto: Art Gallery of Ontario, 1981.", "page_number": "Mentioned: p. 336; Reproduced: p. 337", "url": null}, {"citation": "Cooper, Douglas. <em>Henri de Toulouse-Lautrec</em>. New York: Abrams, 1982.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "Adriani, Go\u0308tz. <em>Toulouse-Lautrec</em>. London: Thames and Hudson, 1987.", "page_number": "Mentioned: p. 76", "url": null}, {"citation": "Sonn, Richard D. <em>Anarchism and Cultural Politics in Fin de Sie\u0300cle France</em>. Lincoln: University of Nebraska Press, 1989.", "page_number": "Mentioned: pp. 156, pp. 322-23; Reproduced: p. 157", "url": null}, {"citation": "Schimmel, Herbert. <em>The Letters of Henri De Toulouse-Lautrec</em>. Oxford: Oxford University Press, 1991.", "page_number": "Mentioned: p. 126, under nos. 163 and 164", "url": null}, {"citation": "Julien, E\u0301douard. <em>Toulouse-Lautrec</em>. New York: Flammarion, 1991.", "page_number": "Reproduced: p. 84", "url": null}, {"citation": "<em>Toulouse-Lautrec</em>, 198 (ill.). Exh. cat. London: Hayward Gallery, 1991.", "page_number": "Reproduced: p. 198", "url": null}, {"citation": "Murray, Gale B. <em>Toulouse-Lautrec: The Formative Years, 1878\u20131891</em>. Oxford: Clarendon Press, 1991.", "page_number": "Mentioned: pp. xvii, 167-70, 249; Reproduced: p. 168", "url": null}, {"citation": "Murray, Gale B. <em>Toulouse-Lautrec: A Retrospective</em>. New York: Hugh Lauter Levin, 1992.", "page_number": "Mentioned: p. 102; Reproduced: p. 103", "url": null}, {"citation": "Frey, Julia Bloch. <em>Toulouse-Lautrec: A Life</em>. London: Phoenix, 1994.", "page_number": "Mentioned: pp. 245-46", "url": null}, {"citation": "Mendelowitz, Daniel M., and Duane A. Wakeham. <em>A Guide to Drawing</em>. Fort Worth: Harcourt Brace Jovanovich, 2000.", "page_number": "Mentioned and reproduced: p. 37", "url": null}, {"citation": "DeGrazia, Diane and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 140-141, p. 291, no. 56; Reproduced: p. 141", "url": null}, {"citation": "<em>Old Master, Modern &amp; Contemporary Prints</em>. London: Sotheby's, 2001.", "page_number": "Mentioned: p. 130, under no. 262", "url": null}, {"citation": "Scharf, Julietta, and Hanna Strzoda. <em>Die Historische Sammlung Otto Gerstenberg</em>. Berlin: Hatje Cantz, 2012.", "page_number": "Mentioned and reproduced: vol. 2, p. 221, no. 1366", "url": null}, {"citation": "Prat, Louis-Antoine. \u201cL\u2019Enfer des Juliette.\u201d In <em>Toulouse-Lautrec: R\u00e9solument moderne</em>, edited by St\u00e9phane Gu\u00e9gan. Exh. cat. Paris: Mus\u00e9e d\u2019Orsay, 2019.", "page_number": "Mentioned: p. 287", "url": ""}, {"citation": "Toulouse-Lautrec, Henri de, Edgar Degas, and Florence Saragoza. Quand Toulouse-Lautrec regarde Degas. Albi : Muse\u0301e Toulouse-Lautrec, 2022.", "page_number": "Mentioned and reproduced: pp. 61-62, fig. 32", "url": ""}, {"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Reproduced: p. 126, no.19", "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. 158-161, no. 30", "url": ""}], "catalogue_raisonne": "Dortu D3.029", "url": "https://clevelandart.org/art/1952.113", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.113/1952.113_web.jpg", "width": "749", "height": "900", "filesize": "231530", "filename": "1952.113_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.113/1952.113_print.jpg", "width": "2831", "height": "3400", "filesize": "2445219", "filename": "1952.113_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.113/1952.113_full.tif", "width": "4363", "height": "5239", "filesize": "68607524", "filename": "1952.113_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": 129221, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-03-27T00:00:00", "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": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:49:05.099000"}, {"id": 143140, "accession_number": "1967.125", "share_license_status": "CC0", "tombstone": "Study, North Conway, New Hampshire, 1851. David Johnson (American, 1827\u20131908). Oil on canvas; framed: 63.8 x 74.3 x 7 cm (25 1/8 x 29 1/4 x 2 3/4 in.); unframed: 43.2 x 53.3 cm (17 x 21 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1967.125", "current_location": "206 American Landscape", "title": "Study, North Conway, New Hampshire", "creation_date": "1851", "creation_date_earliest": 1851, "creation_date_latest": 1851, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 63.8 x 74.3 x 7 cm (25 1/8 x 29 1/4 x 2 3/4 in.); Unframed: 43.2 x 53.3 cm (17 x 21 in.)", "dimensions": {"framed": {"height": 0.638, "height_inch": 25, "height_inch_fraction": 0.125, "width": 0.743, "width_inch": 29, "width_inch_fraction": 0.25, "depth": 0.07, "depth_inch": 2, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.432, "height_inch": 17, "height_inch_fraction": 0.0, "width": 0.533, "width_inch": 21, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"D. Johnson. / 1851\"; inscribed lower left: \"D.J. 1851. (false); signed on the back: \"Study. North Conway. N.H. / David Johnson 1851]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"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": 226340, "title": "Mount Washington: The Crown of New England", "description": "<i>Mount Washington: The Crown of New England</i>. Currier Museum of Art, Manchester, NH (organizer) (October 1, 2016-January 16, 2017).", "opening_date": "2016-10-01T00:00:00"}], "legacy": [{"description": "Cleveland, OH, Cleveland Museum of Art, Year In Review for 1967 (29 November - 31 December 1967).", "opening_date": "1967-11-29T00:00:00"}, {"description": "Mansfield, OH, Mansfield Art Center, The American Landscape (8 March - 5 April 1981), p. 7, cat no. 13.", "opening_date": "1981-03-08T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, Visions of Landscape: East and West (17 February - 21 March 1982)", "opening_date": "1982-02-17T00:00:00"}, {"description": "New York, NY, Metropolitan Museum of Art, American Paradise: The World of the Hudson River School (4 October 1987 - 3 January 1988), cat. p. 270-72.", "opening_date": "1987-10-04T00:00:00"}, {"description": "Ithaca, NY, Herbert F. Johnson Museum of Art, Cornell University, Nature Transcribed: The Landscapes and Still Lifes of David Johnson (1827-1908) (5 November - 23 December 1988), did not travel to University of Maryland, College Park; Georgia Museum of Art, University of Georgia, Athens; or National Academy of Design, New York; cat. no. 4, p. 18-19, ill. p. 18.", "opening_date": "1988-11-05T00:00:00"}, {"description": "Currier Museum of Art, Manchester, NH (10/1/2016 \u2013 1/16/2017):  \"Mount Washington: The Crown of New England\"", "opening_date": "2016-10-01T00:00:00"}]}, "provenance": [{"description": "(R. Schoelkopf Gallery, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "North Conway, New Hampshire, markets itself as the birthplace of American skiing.", "description": "Johnson\u2019s devotion to carefully observing nature is evident in his detailed rendering of a riverbed. Located in a village that provided a popular jumping-off point for tourists visiting the White Mountains, this untamed site features a haphazard arrangement of angled boulders, slippery moss, splintered tree branches, and dense undergrowth. Contemporary travel guidebooks often cautioned against the physical challenges\u2014and the potential for injury\u2014encountered by venturing into such inner recesses of the woods; one warned that \u201cwild forest-clambering\u201d could be akin to \u201cfighting a phalanx of porcupines.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20746849"], "internet_archive": ["https://archive.org/details/clevelandart-1967.125-study-north-conway-n"]}, "citations": [{"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (December 1967): 302\u2013346.", "page_number": "Reproduced: p. 323; Mentioned: p. 343, no. 56", "url": "http://www.jstor.org/stable/25152183"}, {"citation": "Talbot, William S. \u201cVisions of Landscape: East and West.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 3 (March 1983): 112\u2013135.", "page_number": "Mentioned and reproduced: p. 120-121, fig. 13", "url": "http://www.jstor.org/stable/25159808"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: fig. 10, p. 12", "url": ""}, {"citation": "Spahr, P. Andrew, <em>Mount Washington: The Crown of New England.</em> Manchester, New Hampshire: Currier Museum of Art, 2016. p. 61", "page_number": "Reproduced: p. 61, fig. 49", "url": null}, {"citation": "Quinn, Karen E. \"Mount Washington: The Crown of New England\". <em>American Art Review</em>. 28, no. 5 (Sept./Oct. 2016): 64-73, 111.", "page_number": "Reproduce: p. 72", "url": null}], "url": "https://clevelandart.org/art/1967.125", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.125/1967.125_web.jpg", "width": "900", "height": "723", "filesize": "418226", "filename": "1967.125_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.125/1967.125_print.jpg", "width": "3400", "height": "2731", "filesize": "3402068", "filename": "1967.125_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.125/1967.125_full.tif", "width": "4707", "height": "3781", "filesize": "53420072", "filename": "1967.125_full.tif"}}, "alternate_images": [{"date_created": "2008-06-23T09:54:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt0_web.jpg", "width": "900", "height": "789", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt0_print.jpg", "width": "3400", "height": "2980", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt0_full.tif", "width": "3783", "height": "3316", "filesize": ""}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt1_web.jpg", "width": "900", "height": "772", "filesize": "376554"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt1_print.jpg", "width": "3153", "height": "2704", "filesize": "3126675"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt1_full.tif", "width": "3153", "height": "2704", "filesize": "25607348"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt2_web.jpg", "width": "900", "height": "614", "filesize": "325699"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt2_print.jpg", "width": "3400", "height": "2318", "filesize": "2778290"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt2_full.tif", "width": "3635", "height": "2478", "filesize": "27052584"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 143140, "creators": [{"id": 2732, "description": "David Johnson (American, 1827\u20131908)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1827", "death_year": "1908", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-10-27T00:00:00", "sortable_date": 1851, "date_added_to_oa": null, "date_text": "1851", "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": "2026-05-01 06:50:24.440000"}, {"id": 143234, "accession_number": "1967.19", "share_license_status": "CC0", "tombstone": "Landscape with a Windmill\r\n, 1646. Jacob van Ruisdael (Dutch, 1628/29\u20131682). Oil on wood; framed: 69 x 88.5 x 4 cm (27 3/16 x 34 13/16 x 1 9/16 in.); unframed: 49.5 x 68.5 cm (19 1/2 x 26 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1967.19", "current_location": "213 Dutch Painting", "title": "Landscape with a Windmill\r\n", "creation_date": "1646", "creation_date_earliest": 1646, "creation_date_latest": 1646, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on wood", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Dutch", "type": "Painting", "measurements": "Framed: 69 x 88.5 x 4 cm (27 3/16 x 34 13/16 x 1 9/16 in.); Unframed: 49.5 x 68.5 cm (19 1/2 x 26 15/16 in.)", "dimensions": {"framed": {"height": 0.69, "height_inch": 27, "height_inch_fraction": 0.1875, "width": 0.885, "width_inch": 34, "width_inch_fraction": 0.8125, "depth": 0.04, "depth_inch": 1, "depth_inch_fraction": 0.5625}, "unframed": {"height": 0.495, "height_inch": 19, "height_inch_fraction": 0.5, "width": 0.685, "width_inch": 26, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"JvR 1646 [JvR in monogram]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 222452, "title": "Master of Landscape: Jacob van Ruisdael's Paintings, Drawings and Etchings", "description": "<i>Master of Landscape: Jacob van Ruisdael's Paintings, Drawings and Etchings</i>. Los Angeles County Museum of Art, Los Angeles, CA (June 26-September 18, 2005); Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (February 25-June 4, 2006).", "opening_date": "2005-06-26T00:00:00"}, {"id": 220230, "title": "The Discovery of Landscape:  Netherlandish Landscape Painting of the 16th and 17th Centuries", "description": "<i>The Discovery of Landscape:  Netherlandish Landscape Painting of the 16th and 17th Centuries</i>. Staatsgalerie Stuttgart, D-70184 Stuttgart, Germany (organizer) (October 15, 2005-February 5, 2006).", "opening_date": "2005-10-15T00:00:00"}], "legacy": [{"description": "Manchester, City Art Gallery, 1964-66 (on extended loan).", "opening_date": "1964-01-01T00:00:00"}]}, "provenance": [{"description": "Sir Francis Cook;", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Sir Frederick Cook;", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Sir Herbert Cook, Doughty House, Richmond;", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Sir Francis Cook, Le Coin, Jersey, Channel Islands;", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Trustees of the Cook Collection (sale: Christie's, London, November 15, 1966, no. 55, listed as Follower of Ruisdael);", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "[F. Kleinberger & Co., New York], sold to the Cleveland Museum of Art, 1967.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Look closely at the field across from the windmill: white linens are naturally bleached in the sun, a process that would have taken several months.", "description": "Even this early work by Jacob van Ruisdael\u2014painted while he was still a teenager\u2014shows his unique approach to landscape that made the simplest motifs seem grand and heroic. Dark forms are massed in the foreground, creating a stark contrast to the expansive, sunlit plain at left.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20801653"], "internet_archive": ["https://archive.org/details/clevelandart-1967.19-landscape-with-a-win"]}, "citations": [{"citation": "Hofstede de Groot, C. P. <em>A Catalogue Raisonne\u0301 of the Works of the Most Eminent Dutch Painters of the Seventeenth Century</em>. London, United Kingdom: Macmillan and Co, 1908.", "page_number": "Reproduced: p. 62, no. 180;, vol. 4", "url": null}, {"citation": "Cook, Francis, Tancred Borenius, J. O. Kronig, Maurice W. Brockwell, and Herbert Frederick Cook. <em>A Catalogue of the Paintings at Doughty House, Richmond, &amp; Elsewhere in the Collection of Sir Frederick Cook, Bt., Visconde De Monserrate</em>. London, United Kingdom: W. Heinemann, 1913.", "page_number": "Reproduced: p. 94, no. 350", "url": null}, {"citation": "Rosenberg, Jakob. <em>Jacob van Ruisdael</em>. Berlin, Germany: B. Cassirer, 1928.", "page_number": "Reproduced: p. 79, no. 119", "url": null}, {"citation": "Simon, Kurt Erich. <em>Jacob van Ruisdael; eine Darstellung seiner Entwicklung</em>. Berlin, Germany: Wu\u0308rfel Verlag, 1930.", "page_number": "Reproduced: p. 21-22, no. 28", "url": null}, {"citation": "Cook, Francis, Maurice W. Brockwell, and Herbert Frederick Cook. <em>Abridged Catalogue of the Pictures at Doughty House, Richmond, Surrey, in the Collection of Sir Herbert Cook, Bart</em>. London, United Kingdom: W. Heinemann, 1932.", "page_number": "Reproduced: p. 40, no. 350", "url": null}, {"citation": "\"Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (1967): 302-46.", "page_number": "Referenced: no. 66, p. 343, Reproduced: p. 315", "url": "http://www.jstor.org/stable/25152183."}, {"citation": "Stsechow, Wolfgang. \"Ruisdael in the Cleveland Museum.\" The Bulletin of The Cleveland Museum of Art LV, no. 10 (October, 1968): 250-261.", "page_number": "Reproduced: p. 256-257; Mentioned: p. 250, 252", "url": null}, {"citation": "Ballegeer, J. P. \"Aus der Arbeit der Museen, Amerika.\" <em>Pantheon</em> II (1968): 138.", "page_number": "Mentioned: p. 138", "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. 125", "url": "https://archive.org/details/CMAHandbook1969/page/n149"}, {"citation": "Johnson, Mark M. \"An Introduction to Lanscape Painting.\" <em>Arts and Activities</em> 82 (November 1977): 34-39.", "page_number": "Reproduced: p. 36", "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. 160", "url": "https://archive.org/details/CMAHandbook1978/page/n180"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Mentioned: p. 266; Reproduced: p. 267", "url": null}, {"citation": "Sutton, Peter C. <em>A Guide to Dutch Art in America</em>. Washington, D.C.: Netherlands-American Amity Trust, 1986.", "page_number": "Reproduced: p. 69, fig. 95", "url": null}, {"citation": "Walford, E. John. <em>Jacob Van Ruisdael and the Perception of Landscape</em>. New Haven, CT: Yale University Press, 1991.", "page_number": "Reproduced: p. 55, fig. 34; p. 56, fig. 34 (detail)", "url": null}, {"citation": "\"1992 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 6 (1993): 215-95.", "page_number": "Mentioned: p. 238", "url": "https://www.jstor.org/stable/25161418"}, {"citation": "Kretzschmar, Sabine, \"Carefully Observed Terrain\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 36 no. 08, October 1996", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM1996-08/page/6"}, {"citation": "Slive, Seymour. <em>Jacob Van Ruisdael: A Complete Catalogue of His Paintings, Drawings, and Etchings</em>. New Haven, CT: Yale University Press, 2001.", "page_number": "Reproduced: p. 145, fig. 127", "url": null}, {"citation": "Sitt, Martina. P. Biesboer, and Karsten Mu\u0308ller. <em>Jacob van Ruisdael: die Revolution der Landschaft</em>. Zwolle, Netherlands: Waanders, 2002.", "page_number": "Reproduced: p. 73, no. 12", "url": null}, {"citation": "Keyes, George S. <em>Masters of Dutch Painting: Detroit Institute of Arts</em>. Detroit, MI: Detroit Institute of Arts, in association with D Giles Ltd., London, 2004.", "page_number": "Reproduced: p. 210, fig. 1", "url": null}, {"citation": "Slive, Seymour. <em>Jacob Van Ruisdael: Master of Landscape</em>. London, United Kingdom: Royal Academy of Arts, 2005.", "page_number": "Reproduced: p. 40, no. 2", "url": null}, {"citation": "Wiemann, Elsbeth, Jenny Gaschke, and Mona Stocker. <em>Die Entdeckung der Landschaft: Meisterwerke der Niederla\u0308ndischen Kunst des 16. und 17. Jahrhunderts</em>. Ko\u0308ln, Germany: DuMont, 2005.", "page_number": "Reproduced: p. 150, no. 54", "url": null}, {"citation": "Bleker, E. J., Rembrandt Harmenszoon van Rijn, and A. A. H. Bleker-Poot. <em>Rembrandt en de Blekerfamilie</em>. Lochem, Netherlands: Silverborgh B.V., 2005.", "page_number": "Reproduced: p. 692, EB 606", "url": null}, {"citation": "Donley, Gregory M., \"World Travelers\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 01, January 2006", "page_number": "Mentioned & reproduced: p. 9", "url": "https://archive.org/details/CMAMM2006-01/page/8"}, {"citation": "Harris, Ann Sutherland. <em>Seventeenth-Century Art &amp; Architecture</em>. London, United Kingdom: Laurence King Publishing Ltd., 2008.", "page_number": "Reproduced: p. 381, fig. 5.68", "url": null}, {"citation": "Slive, Seymour. <em>Jacob Van Ruisdael: Windmills and Water Mills</em>. Los Angeles, CA: J. Paul Getty Museum, 2011.", "page_number": "Reproduced: p. 10, fig. 6", "url": null}, {"citation": "Arikawa, Haruo. \"Dutch Landscapes Revisited.\" <em>Zurich studies in the history of art</em> 19 (2012): 269-323.", "page_number": "Reproduced: p. 277, fig. 8", "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. 187", "url": ""}, {"citation": "White, Christopher. <em>Dutch Pictures in the Collection of Her Majesty the Queen.</em> London: Royal Collection Trust, 2015.", "page_number": "Mentioned and Reproduced: p. 335, fig. 44", "url": null}], "url": "https://clevelandart.org/art/1967.19", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.19/1967.19_web.jpg", "width": "1239", "height": "893", "filesize": "799015", "filename": "1967.19_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.19/1967.19_print.jpg", "width": "3400", "height": "2451", "filesize": "6401827", "filename": "1967.19_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.19/1967.19_full.tif", "width": "6096", "height": "4395", "filesize": "80410892", "filename": "1967.19_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.19/1967.19_alt0_web.jpg", "width": "1237", "height": "893", "filesize": "768662"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.19/1967.19_alt0_print.jpg", "width": "3400", "height": "2454", "filesize": "5533775"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.19/1967.19_alt0_full.tif", "width": "4886", "height": "3527", "filesize": "51714248"}}, {"date_created": "2009-05-11T18:38:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.19/1967.19_alt1_web.jpg", "width": "1147", "height": "893", "filesize": "673766"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.19/1967.19_alt1_print.jpg", "width": "3400", "height": "2646", "filesize": "6298200"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.19/1967.19_alt1_full.tif", "width": "5326", "height": "4145", "filesize": "66261472"}}, {"date_created": "2009-05-11T18:33:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.19/1967.19_alt2_web.jpg", "width": "1137", "height": "893", "filesize": "733594"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.19/1967.19_alt2_print.jpg", "width": "3400", "height": "2670", "filesize": "6946857"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.19/1967.19_alt2_full.tif", "width": "5266", "height": "4135", "filesize": "65357960"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Harold C. Schott Foundation Gallery", "athena_id": 143234, "creators": [{"id": 2676, "description": "Jacob van Ruisdael (Dutch, 1628/29\u20131682)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1628", "death_year": "1682", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1646, "date_added_to_oa": null, "date_text": "1646", "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": ["A Windmill near Fields"], "is_highlight": false, "updated_at": "2026-05-01 06:50:25.208000"}, {"id": 130391, "accession_number": "1953.155", "share_license_status": "CC0", "tombstone": "Spring Flowers, 1864. Claude Monet (French, 1840\u20131926). Oil on fabric; 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": null, "title": "Spring Flowers", "creation_date": "1864", "creation_date_earliest": 1864, "creation_date_latest": 1864, "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: 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"}], "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.", "description": "This early work reveal's 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, Figure 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": [{"date_created": "2005-09-26T17:54:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.155/1953.155_alt0_web.jpg", "width": "681", "height": "893", "filesize": "463728"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.155/1953.155_alt0_print.jpg", "width": "2593", "height": "3400", "filesize": "5908134"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.155/1953.155_alt0_full.tif", "width": "3575", "height": "4687", "filesize": "50300540"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "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": "2026-05-02 12:48:00.130000"}, {"id": 154817, "accession_number": "1989.399", "share_license_status": "Copyrighted", "tombstone": "Rodin - The Thinker, 1902. Edward Steichen (American, 1879\u20131973). Gelatin silver print; image: 36.2 x 43.8 cm (14 1/4 x 17 1/4 in.); paper: 36.5 x 44 cm (14 3/8 x 17 5/16 in.); matted: 55.9 x 66 cm (22 x 26 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Thomas A. Mann, 1989.399", "current_location": null, "title": "Rodin - The Thinker", "creation_date": "1902", "creation_date_earliest": 1902, "creation_date_latest": 1902, "artists_tags": ["male"], "culture": ["America"], "technique": "Gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 36.2 x 43.8 cm (14 1/4 x 17 1/4 in.); Paper: 36.5 x 44 cm (14 3/8 x 17 5/16 in.); Matted: 55.9 x 66 cm (22 x 26 in.)", "dimensions": {"image": {"height": 0.362, "height_inch": 14, "height_inch_fraction": 0.25, "width": 0.438, "width_inch": 17, "width_inch_fraction": 0.25}, "paper": {"height": 0.365, "height_inch": 14, "height_inch_fraction": 0.375, "width": 0.44, "width_inch": 17, "width_inch_fraction": 0.3125}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.66, "width_inch": 26, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in negative on recto: \"STEICHEN / CXCII\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310333, "title": "The Year in Review for 1989", "description": "<i>The Year in Review for 1989</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-April 15, 1990).", "opening_date": "1990-02-06T05:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 185439, "title": "Artists Photographing Artists", "description": "<i>Artists Photographing Artists</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 2001-February 27, 2002).", "opening_date": "2001-10-13T00:00:00"}, {"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007); Frick Art and Historical Center, Pittsburgh, PA (October 3, 2009-January 3, 2010).", "opening_date": "2007-06-24T00:00:00"}, {"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}, {"id": 317308, "title": "Beyond Truth: Photography after the Shutter", "description": "<i>Beyond Truth: Photography after the Shutter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2019).", "opening_date": "2019-02-10T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This image was created from two different negatives printed together.", "description": "When Steichen arrived in Paris in 1900, August Rodin (1840\u20131917) was regarded not only as the finest living sculptor but also as one of the greatest artists of the time. Steichen visited Rodin's studio in 1901, and the sculptor, upon seeing the young photographer's work, agreed to sit for a portrait. Steichen spent a year studying Rodin among his creations, finally choosing to depict the artist in front of the newly carved white marble<em> Monument to Victor Hugo</em>, facing a bronze of <em>The Thinker</em>. Stiechen did not have a wide-angle lens when he photographed Rodin, and the sculptures and blocks of marble filled the artist's studio to capacity, so two separate shots were required. Posed in relief against his work, Rodin seems to contemplate <em>The Thinker </em>as his alter ego, while the luminous carved figure of the great French author Victor Hugo (1802\u20131885) suggests poetic inspiration as the source of the sculptor's creativity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780891"], "internet_archive": []}, "citations": [{"citation": "E. H. T. \"The Year in Review: Selections 1989.\" <em>The Bulletin of the Cleveland Museum of Art</em> 77, no. 2 (1990): 38-78.", "page_number": "p. 69, no. 59", "url": "www.jstor.org/stable/25160106"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 329", "url": ""}, {"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. 307", "url": ""}], "url": "https://clevelandart.org/art/1989.399", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Thomas A. Mann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154817, "creators": [{"id": 941, "description": "Edward Steichen (American, 1879\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Edward Steichen American, b. Luxembourg, 1879-1973\r\n\r\nHis long and illustrious career places Edward Steichen among the major figures of 20th-century photography. Born Eduard Jean Steichen in Luxembourg, Steichen moved with his family to the United States in 1881, was naturalized a citizen in 1900, and changed the spelling of his first name in 1918. Educated in Wisconsin, he showed an early interest in art. He studied at the Milwaukee Art Students League and was an apprentice lithographer; later he studied painting at the Acad\u00e9mie Julian in Paris.\r\n\tSteichen took his first photograph in 1896. Early recognition came in the Second Philadelphia Salon of 1899, and he was encouraged by Clarence H. White. Shortly thereafter, while on his way to Europe, he met Alfred Stieglitz, who bought three of his prints. In 1900 he participated in the New School of American Photography exhibition in London. Steichen's first one-person show, which included paintings as well as photographs, was held in Paris in 1902. He helped to found the Photo-Secession and played an important role in the life and design of its galleries, programs, and publications, including the decision to exhibit international works in a variety of media.\r\n\tSteichen was the commander of aerial photography for the American Expeditionary Forces during the First World War. After the war, he became chief photographer for Vogue and Vanity Fair, and a well-known portraitist. During World War II he was in charge of all navy combat photography and was also responsible for the exhibitions Road to Victory (1942) and Power in the Pacific (1945) at the Museum of Modern Art, New York. These, along with his 1955 show, The Family of Man, established a new, more popular form of photographic exhibition. In 1947 he was made director of the museum's department of photography, a position he held until 1962.\r\n\tIn 1961 the Museum of Modern Art mounted a retrospective of Steichen's work. The following year he received the Medal of Freedom from President John F. Kennedy. His photographs have been represented in many exhibitions and publications, including the book Steichen the Photographer, with a text by his brother-in-law, Carl Sandburg. T.W.F.", "name_in_original_language": null, "birth_year": "1879", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "1902", "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": "2026-05-01 06:51:31.253000"}, {"id": 169684, "accession_number": "2011.49", "share_license_status": "CC0", "tombstone": "Portrait of Jean-Baptiste Lemoyne the Younger, 1774. Elisabeth Louise Vig\u00e9e-LeBrun (French, 1755\u20131842). Oil on canvas; framed: 58.6 x 51.9 x 5.7 cm (23 1/16 x 20 7/16 x 2 1/4 in.); unframed: 37.4 x 44.1 cm (14 3/4 x 17 3/8 in.). The Cleveland Museum of Art, Bequest of Dr. Paul J. Vignos Jr., 2011.49", "current_location": "216B French and German", "title": "Portrait of Jean-Baptiste Lemoyne the Younger", "creation_date": "1774", "creation_date_earliest": 1774, "creation_date_latest": 1774, "artists_tags": ["female"], "culture": ["France, 18th century"], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - French 18th Century", "type": "Painting", "measurements": "Framed: 58.6 x 51.9 x 5.7 cm (23 1/16 x 20 7/16 x 2 1/4 in.); Unframed: 37.4 x 44.1 cm (14 3/4 x 17 3/8 in.)", "dimensions": {"framed": {"height": 0.586, "height_inch": 23, "height_inch_fraction": 0.0625, "width": 0.519, "width_inch": 20, "width_inch_fraction": 0.4375, "depth": 0.057, "depth_inch": 2, "depth_inch_fraction": 0.25}, "unframed": {"height": 0.374, "height_inch": 14, "height_inch_fraction": 0.75, "width": 0.441, "width_inch": 17, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Jean-Baptiste Lemoyne the Younger (1704-1778), Paris, France, by inheritance to the Lemoyne Family", "citations": [], "footnotes": null, "date": "1774-1778", "sortorder": 1}, {"description": "Lemoyne Family, by inheritance to Yves Le Moyne", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Yves Le Moyne, sold through Hotel Drouot", "citations": [], "footnotes": null, "date": "-1912", "sortorder": 3}, {"description": "Sale: Hotel Drouot, Paris, France, February 5, 1912, lot 76", "citations": [], "footnotes": null, "date": "February 5, 1912", "sortorder": 4}, {"description": "Paul J. Vignos, Jr. (1919-2010), Cleveland, OH, upon his death, held in trust by the estate.", "citations": [], "footnotes": null, "date": "-2010", "sortorder": 5}, {"description": "Estate of Paul J. Vignos, Jr., by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2010-2011", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jean-Baptiste Lemoyne was a sculptor--there's one of his works in the CMA's collection.", "description": "This signed portrait reinterprets a well-known pastel by Maurice-Quentin de La Tour of the important French sculptor Jean-Baptiste Lemoyne the younger (1704\u20131778). The sculptor, seen toward the end of his life, appears in working garb. His close-cropped grey hair, frank, observant stare, and bemused smile all demonstrate the closeness of the young painter to the elder sculptor. The work also speaks to Vig\u00e9e-LeBrun\u2019s interest in naturalistic portraiture (as opposed to her more formal, commissioned portraits), and\u2014in the handling of the paint as well as her source image\u2014her debt to pastel painting, her original medium.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480843"], "internet_archive": ["https://archive.org/details/clevelandart-2011.49-portrait-of-jean-bap"]}, "citations": [{"citation": "Ho\u0302tel Drouot.<em> Tableaux et dessins anciens, aquarelles, gouaches, pastels, gravures.</em> 1912.", "page_number": "lot 76", "url": ""}], "url": "https://clevelandart.org/art/2011.49", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2011.49/2011.49_web.jpg", "width": "753", "height": "893", "filesize": "110053", "filename": "2011.49_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2011.49/2011.49_print.jpg", "width": "2867", "height": "3400", "filesize": "2032892", "filename": "2011.49_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2011.49/2011.49_full.tif", "width": "5692", "height": "6749", "filesize": "115269680", "filename": "2011.49_full.tif"}}, "alternate_images": [{"date_created": "2011-10-26T19:00:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt0_web.jpg", "width": "715", "height": "893", "filesize": "411696"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt0_print.jpg", "width": "2721", "height": "3400", "filesize": "6828408"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt0_full.tif", "width": "4324", "height": "5403", "filesize": "70113516"}}, {"date_created": "2011-10-26T18:35:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt1_web.jpg", "width": "783", "height": "893", "filesize": "548639"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt1_print.jpg", "width": "2980", "height": "3400", "filesize": "8334529"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt1_full.tif", "width": "4852", "height": "5535", "filesize": "80599808"}}, {"date_created": "2013-09-23T15:10:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt2_web.jpg", "width": "759", "height": "893", "filesize": "131386"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt2_print.jpg", "width": "2891", "height": "3400", "filesize": "2243885"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt2_full.tif", "width": "6000", "height": "7056", "filesize": "127031780"}}, {"date_created": "2013-09-23T15:16:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt3_web.jpg", "width": "752", "height": "893", "filesize": "103133"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt3_print.jpg", "width": "2862", "height": "3400", "filesize": "1788676"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt3_full.tif", "width": "6000", "height": "7126", "filesize": "128291772"}}, {"date_created": "2013-09-23T15:56:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt4_web.jpg", "width": "750", "height": "893", "filesize": "131178"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt4_print.jpg", "width": "2856", "height": "3400", "filesize": "1825437"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt4_full.tif", "width": "6000", "height": "7142", "filesize": "128588368"}}, {"date_created": "2010-10-20T18:01:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt5_web.jpg", "width": "768", "height": "893", "filesize": "571974"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt5_print.jpg", "width": "2923", "height": "3400", "filesize": "8050011"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt5_full.tif", "width": "4469", "height": "5198", "filesize": "69720276"}}, {"date_created": "2010-10-20T18:06:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt6_web.jpg", "width": "782", "height": "893", "filesize": "534585"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt6_print.jpg", "width": "2977", "height": "3400", "filesize": "8580911"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.49/2011.49_alt6_full.tif", "width": "4556", "height": "5202", "filesize": "71129952"}}], "creditline": "Bequest of Dr. Paul J. Vignos Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169684, "creators": [{"id": 60227, "description": "Elisabeth Louise Vig\u00e9e-LeBrun (French, 1755\u20131842)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1755", "death_year": "1842", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-06-06T00:00:00", "sortable_date": 1774, "date_added_to_oa": null, "date_text": "1774", "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": "2026-05-01 06:53:15.647000"}, {"id": 300947, "accession_number": "2017.99", "share_license_status": "Copyrighted", "tombstone": "Der Krieg, 1914. Heinrich Davringhausen (German, 1894\u20131970). Oil on canvas; overall: 82 x 69.5 cm (32 5/16 x 27 3/8 in.). The Cleveland Museum of Art, Modern European Painting and Sculpture Sundry Purchase Fund, 2017.99", "current_location": "225 German Expressionism & Surrealism", "title": "Der Krieg", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["Germany"], "technique": "Oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Overall: 82 x 69.5 cm (32 5/16 x 27 3/8 in.)", "dimensions": {"overall": {"height": 0.82, "height_inch": 32, "height_inch_fraction": 0.3125, "width": 0.695, "width_inch": 27, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "The artist (until 1970.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Private collection (1970-2016).", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "[Dorotheum, Vienna, auction, 23 November 2016, lot 505].", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "[Ketterer Kunst, Munich, auction, 10 June 2017, lot 233].", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Purchased by the Cleveland Museum of Art, 10 June 2017.", "citations": [], "footnotes": null, "date": null, "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Nazis seized 200 of this artist's paintings because they were considered \"degenerate art.\"", "description": "A member of a circle of avant-garde artists active in Cologne, Davringhausen painted this apocalyptic vision of a burning village in 1914 as a premonition of the violence and destructiveness of the First World War. Tiny black figures, some apparently carrying and shooting guns, are engulfed in a vortex of burning, collapsing buildings, perhaps alluding to the potential obliteration of cities and countries, even the social structures of Western Civilization. Through a masterful merging of expressionist emotion with Cubist and Futurist formal devices, <em>Der Krieg (War)</em> made a significant contribution to the theme of apocalyptic war scenes painted by the German Expressionists.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482899"], "internet_archive": []}, "citations": [{"citation": "Robinson: William H. \u201cAcquisition Highlights: Modern Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 23.", "page_number": "Reproduced and Mentioned: P. 23", "url": "https://archive.org/details/CMAMM2018-02/page/n11/mode/2up"}], "url": "https://clevelandart.org/art/2017.99", "images": {}, "alternate_images": [], "creditline": "Modern European Painting and Sculpture Sundry Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 300947, "creators": [{"id": 301380, "description": "Heinrich Davringhausen (German, 1894\u20131970)", "extent": null, "qualifier": null, "role": "artist", "biography": "German painter and printmaker, 1894-1970", "name_in_original_language": null, "birth_year": "1894", "death_year": "1970", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2017-06-05T00:00:00-04:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "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": "2026-05-01 06:53:48.458000"}, {"id": 144732, "accession_number": "1969.52", "share_license_status": "CC0", "tombstone": "Storm in the Mountains, 1847. Frederic Edwin Church (American, 1826\u20131900). Oil on canvas; framed: 98.7 x 86.4 x 9.2 cm (38 7/8 x 34 x 3 5/8 in.); unframed: 75.5 x 62.8 cm (29 3/4 x 24 3/4 in.); former: 94.5 x 81.5 x 9 cm (37 3/16 x 32 1/16 x 3 9/16 in.). The Cleveland Museum of Art, Gift of various donors by exchange and Purchase from the J. H. Wade Fund, 1969.52", "current_location": "206 American Landscape", "title": "Storm in the Mountains", "creation_date": "1847", "creation_date_earliest": 1847, "creation_date_latest": 1847, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 98.7 x 86.4 x 9.2 cm (38 7/8 x 34 x 3 5/8 in.); Unframed: 75.5 x 62.8 cm (29 3/4 x 24 3/4 in.); Former: 94.5 x 81.5 x 9 cm (37 3/16 x 32 1/16 x 3 9/16 in.)", "dimensions": {"framed": {"height": 0.987, "height_inch": 38, "height_inch_fraction": 0.875, "width": 0.864, "width_inch": 34, "width_inch_fraction": 0.0, "depth": 0.092, "depth_inch": 3, "depth_inch_fraction": 0.625}, "unframed": {"height": 0.755, "height_inch": 29, "height_inch_fraction": 0.75, "width": 0.628, "width_inch": 24, "width_inch_fraction": 0.75}, "former": {"height": 0.945, "height_inch": 37, "height_inch_fraction": 0.1875, "width": 0.815, "width_inch": 32, "width_inch_fraction": 0.0625, "depth": 0.09, "depth_inch": 3, "depth_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in center on tree: \"F. CHURCH. 1847\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"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"}], "legacy": [{"description": "New York, American Art Union 1847, no. 120; listed as the property of E. G. Merick of Clayton, NY in Mary Bartlett Cowdrey, American Academy of Fine Arts and American Art-Union Exhibition Record 1816-1852, (New York, 1953), p. 70.", "opening_date": "1953-01-01T00:00:00"}, {"description": "Columbus, Ohio, Columbus Museum of Art, Ohio, A Nation\u2019s Legacy: 150 Years of American Art from Ohio Collections; (19 January - 15 March 1992), traveled to Tokyo, Isetan Museum (9 April - 5 May 1992), Yamaguchi, The Yamaguchi Prefectural Museum of Art (12 May- 21 June 1992), Fukushima, the Fukushima Prefectural Museum of Art (27 June - 2 August 1992), Takamatsu, the Takamatsu City Museum of Art (7 August- 6 September 1992) and Osaka, Daimaru Museum Umeda (23 September- 5 October 1992); cat. no. 4, repr. p. 29, p. 174.", "opening_date": "1992-01-19T00:00:00"}, {"description": "Fort Worth, TX, Amon Carter Museum, The Early Landscapes of Frederic Edwin Church (9 March - 29 April 1984); p. 43, 86-7. illus. p. 87 as cat. 4; Blasted Tree (Storm in the Mountains).", "opening_date": "1984-03-09T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, Frederic Edwin Church (8 October 1989- 18 March 1990), p. 36-7, 40, cat. no. 2.", "opening_date": "1989-10-08T00:00:00"}]}, "provenance": [{"description": "Sold to E. G. Merrick, Clayton, NY (in family until 1967): (Eldridge Gerry Merrick, E. G. Merrick II, Mrs. John P. Nevins (daughter), West Brattleboro, VT); Adams Davidson and Company, Washington, DC, 1967; Hirschl and Adler, NY, sold to the Cleveland Museum of Art, 1969.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Church's spectacular home and studio, named Olana, is preserved as a New York State Historical Site.", "description": "Dominating this composition is a lightning-blasted tree embodying nature's awe-inspiring power and endless cycle of life and death. A popular motif because of these associations, the blasted tree was favored by many landscape painters like Church, who prominently featured it here.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20202094"], "internet_archive": ["https://archive.org/details/clevelandart-1969.52-storm-in-the-mountai"]}, "citations": [{"citation": "Howat, John K., <em>Frederic Church. </em>New Haven: Yale University Press, 2005.", "page_number": "Mentioned and reproduced, p. 20.", "url": ""}, {"citation": "\"Visions of Landscape East and West.\" <em>Asia</em> Vol. 4, No. 5 (January/February 1982): pp. 24-29.", "page_number": "Reproduced: p. 29", "url": null}, {"citation": "Carr, Gerald L. <em>Frederic Edwin Church: Catalogue Raisonne\u0301 of Works of Art at Olana State Historic Site.</em> Cambridge [England]: Cambridge University Press, 1994.", "page_number": "Reproduced: p. 70, fig. 27", "url": null}, {"citation": "Franklin, David. <em>The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd., 2012.", "page_number": "Reproduced: p. 52 - 53", "url": ""}], "url": "https://clevelandart.org/art/1969.52", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.52/1969.52_web.jpg", "width": "742", "height": "893", "filesize": "506435", "filename": "1969.52_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.52/1969.52_print.jpg", "width": "2824", "height": "3400", "filesize": "7320432", "filename": "1969.52_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.52/1969.52_full.tif", "width": "4813", "height": "5794", "filesize": "83687840", "filename": "1969.52_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt0_web.jpg", "width": "737", "height": "893", "filesize": "511507"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt0_print.jpg", "width": "2807", "height": "3400", "filesize": "6321174"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt0_full.tif", "width": "3779", "height": "4577", "filesize": "51918064"}}, {"date_created": "2009-09-02T13:19:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt1_web.jpg", "width": "780", "height": "893", "filesize": "540601"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt1_print.jpg", "width": "2969", "height": "3400", "filesize": "6176573"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt1_full.tif", "width": "3000", "height": "3436", "filesize": "30961952"}}], "creditline": "Gift of various donors by exchange and Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 144732, "creators": [{"id": 2697, "description": "Frederic Edwin Church (American, 1826\u20131900)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1826", "death_year": "1900", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1847, "date_added_to_oa": null, "date_text": "1847", "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": ["Blasted Tree"], "is_highlight": false, "updated_at": "2026-05-01 06:50:32.844000"}, {"id": 130553, "accession_number": "1953.286", "share_license_status": "CC0", "tombstone": "Christ at the Column, 1756. Johann Baptist Hagenauer (Austrian, 1732\u20131810). Gilt bronze; overall: 19.6 x 10.2 x 11.3 cm (7 11/16 x 4 x 4 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1953.286", "current_location": null, "title": "Christ at the Column", "creation_date": "1756", "creation_date_earliest": 1756, "creation_date_latest": 1756, "artists_tags": ["male"], "culture": ["Austria"], "technique": "gilt bronze", "support_materials": [], "department": "European Painting and Sculpture", "collection": "Sculpture", "type": "Sculpture", "measurements": "Overall: 19.6 x 10.2 x 11.3 cm (7 11/16 x 4 x 4 7/16 in.)", "dimensions": {"overall": {"height": 0.196, "height_inch": 7, "height_inch_fraction": 0.6875, "width": 0.102, "width_inch": 4, "width_inch_fraction": 0.0, "depth": 0.113, "depth_inch": 4, "depth_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "at base of stake:  IOANNES HAGENAUER SALISBURGENSIS INVENIT ED FECIT 1756.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 703169, "title": "The Age of Excellence: Rococo and It's Effect", "description": "<i>The Age of Excellence: Rococo and It's Effect</i>. 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II, pl. 1126.", "opening_date": "1914-01-01T05:00:00Z"}, {"description": "Vienna, Sch\u00f6nbrunn, Maria-Theresia Ausstellung, 1930, p. 156, no. 8, illus. (date incorrectly cited as \"1786\").", "opening_date": "1930-01-01T05:00:00Z"}, {"description": "Paris, France, Mus\u00e9e du Jeu de Paume, 1937, Exposition d'Art Autrichien, 1937, cat. no. 104, illus. pl. 21.", "opening_date": "1937-01-01T05:00:00Z"}, {"description": "Zurich, Austria, Kunsthaus, Osterreichische Kunst, 1937, no. 129.", "opening_date": "1937-01-01T05:00:00Z"}, {"description": "Bern, Switzerland, Kunstmuseum, Kunst und Kunstgewerbe, Sonderausstellung, Privat-sammlung &lt;Dr. E. Delmar&gt;,\"1939-40, cat. no. 13, pl. 13.", "opening_date": "1939-01-01T05:00:00Z"}, {"description": "Lawrence, Kansas, University of Kansas Museum of Art, German and Austrian Sculpture of the Eighteenth Century, October 15 to November 30, 1955. cat. no.5.", "opening_date": "1955-01-01T05:00:00Z"}, {"description": "Kansas City, MO, William Rockhill Nelson Gallery of Art, The Century of Mozart, Jan. 15 to Mar. 4, 1956. cat. no.51.", "opening_date": "1956-01-03T05:00:00Z"}, {"description": "Baltimore, MD, The Baltimore Museum of Art, The Age of Elegance: Rococo and its Effect, April 25 to June 14, 1959. no. 285 in catalog; repr. p. 74.", "opening_date": "1959-01-01T05:00:00Z"}, {"description": "Oberlin, OH, Allen Memorial Art Museum, October 29- December 15, 1991: \"Art in the Age of Mozart,\"", "opening_date": "1991-01-01T05:00:00Z"}]}, "provenance": [{"description": "Emil Delmar [1876-1959], Budapest, Hungary, sold to R. Stora and Company", "citations": [], "footnotes": null, "date": "1913-52", "sortorder": 1}, {"description": "(R. Stora and Company, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1952-53", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1953-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "With the energy of the imbalanced composition, Hagenauer emphasizes this heightened moment of the Passion of Christ.", "description": "Considered to be one of the masterpieces of his youth, Hagenauer cast this bronze while a student at the Vienna Academy, where he studied between 1754 and 1759. The authorship and date is verified by an inscription found at the base of the stake: IOANNES HAGENAUER SALISBURGENSIS INVENIT ED FECIT 1756. This signature appears on several of Hagenauer's early works.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79912422"], "internet_archive": ["https://archive.org/details/clevelandart-1953.286-christ-at-the-column"]}, "citations": [{"citation": "Hans Friedeberger, \"Die Jahrhundertausstellung deutscher Kunst 1650-1800, Darmstadt 1914, Mu\u0308nchner Jahrbuch der bildenden Kunst, VIII (1913)", "page_number": "305, figure 25.", "url": ""}, {"citation": "Biermann, Georg. <em>Deutsches Barock und Rokoko</em>. Leipzig: E.E. Schwabach, 1914.", "page_number": "p. 656 no.1126, repr; listed p. LXXVI.", "url": ""}, {"citation": "Georg Sobotka, \"Johann Baptist Hagenauer,\" Jahrbuch des Kunsthistorischen Institutes, Wien, XIV (1920)", "page_number": "4-6, figures 3, 34", "url": ""}, {"citation": "Tietze-Conrat, E. <em>O\u0308sterreichische barockplastik</em>. Wien: A. Schroll &amp; Co., g. m. b. h, 1920.", "page_number": "p. 31, pl. 87", "url": ""}, {"citation": "\"Hagenauer,\" Thieme-Becker, vol. XV, (1922)", "page_number": "466", "url": ""}, {"citation": "Planiscig, Leo. <em>Die Bronzeplastiken: Statuetten, Reliefs, Gera\u0308te und Plaketten : Katalog mit den Abb</em>. sa\u0308mtlicher Stu\u0308cke. 1924", "page_number": "cat. no. 378.", "url": ""}, {"citation": "Stix, Alfred. <em>Exposition d'art autrichien: mai-juin, 1937</em>. Paris: Braun, 1937.", "page_number": "p. 21, plate 21, cat. no.104", "url": ""}, {"citation": "Kunstmuseum Bern. <em>Kunst und Kunstgewerbe: Sonderausstellung 1939/40</em>. [Bern]: Kunstmuseum, 1940.", "page_number": "#13, listed and repr.", "url": ""}, {"citation": "Feulner, Adolf, and Theodor Mu\u0308ller. <em>Geschichte der deutschen Plastik</em>. Mu\u0308nchen: F. Bruckmann, 1953.", "page_number": "vol. II, 593-94, figure 487", "url": ""}, {"citation": "W. M. Milliken, \"'Christ at the Column' by Hagenauer,\" The Bulletin of the Cleveland Museum of Art, XLI (March 1954), Cleveland, Ohio", "page_number": "p.48, 53, p. 49 repr.", "url": ""}, {"citation": "Edward A. Maser, \"A Monument for a Patron of Mozart,\" University of Kansas. The Register of the Museum of Art (January 1956)", "page_number": "67, n. 7", "url": ""}, {"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. 256", "url": "https://archive.org/details/CMAHandbook1958/page/n54"}, {"citation": "William Mathewson Milliken, <em>The Cleveland Museum of Art</em>. New York: H.N. Abrams, 1958", "page_number": "p. 44, repr.", "url": ""}, {"citation": "Edward A. Maser, \"German and Austrian Rococo in American Collections,\" Connoisseur, CXLV (March 1960)", "page_number": "p. 133-4, figure 5", "url": ""}, {"citation": "Jennifer Montagu, <em>Bronzes, Pleasures and Treasures</em> (New York: G. P. Putnam's Sons, 1963)", "page_number": "p. 105, figure 113", "url": ""}, {"citation": "Eberhard Hempel, <em>Baroque Art and Architecture in Central Europe</em>, trans. Elisabeth Hempel and Marguerite Kay, Pelican History of Art (Harmondsworth/Baltimore: Penguin, 1965)", "page_number": "p. 295", "url": ""}, {"citation": "Jewett Art Center, <em>Baroque Sculpture and the Decorative Arts: A Loan Exhibition</em> (Wellesley, MA,: Wellesley College, 1965)", "page_number": "no. 31", "url": ""}, {"citation": "<em>Baroque Sculpture and the Decorative Arts, </em>Wellesley: Wellesley College Jewish Arts Center, March 1965", "page_number": "fig. 31", "url": ""}, {"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. 149", "url": "https://archive.org/details/CMAHandbook1966/page/n173"}, {"citation": "Hans R. Weihrauch, <em>Europ\u00e4ische Bronzestatuetten</em>, (Braunschweig: Klinckhardt and Biermann, 1967)", "page_number": "p. 442, figure 525", "url": ""}, {"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. 149", "url": "https://archive.org/details/CMAHandbook1969/page/n173"}, {"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. 165", "url": "https://archive.org/details/CMAHandbook1978/page/n185"}, {"citation": "Ditner, David Charles. <em>Seventeenth and Eighteenth Century European Sculpture in the Cleveland Museum of Art, </em>PhD. Dissertation (Ohio, Case Western Reserve University, 1985)", "page_number": "p. 362", "url": ""}, {"citation": "Krapf, Michael, Sabine Grabner, <em>Georg Raphael Donner. 1693-1741,</em> (Wien, Austria: Osterreichische Galerie, 1993)", "page_number": "pp. 525-527, cat. #146, p. 527, repr.", "url": ""}, {"citation": "Galavics, Geza. <em>Budapesti Torteneti Muzeum. Baroque Art in Central-Europe</em> (Budapest: Budapesti Torteneti Muzeum, 1993)", "page_number": "mentioned p. 412", "url": ""}, {"citation": "Brucher, Gunter, <em>Die Kunst des Barock in \u00d6sterreich,</em> (Salzburg: Residenz, 1994)", "page_number": "p. 189", "url": ""}, {"citation": "R\u00f3zsav\u00f6lgyi, Andrea. \"20 Years in Emigration. Emil Delmar and His Collection\" In <em>Hungary in context: studies on art and architecture</em>, edited by Anna Tu\u0308ske\u0301s, A\u0301ron To\u0301th, Miklo\u0301s Sze\u0301kely, pp. 239-251. Budapest: CentrArt, 2013.", "page_number": "Mentioned and Reproduced: pp. 247-248", "url": null}], "url": "https://clevelandart.org/art/1953.286", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.286/1953.286_web.jpg", "width": "690", "height": "893", "filesize": "370344", "filename": "1953.286_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.286/1953.286_print.jpg", "width": "2629", "height": "3400", "filesize": "4918633", "filename": "1953.286_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.286/1953.286_full.tif", "width": "3198", "height": "4136", "filesize": "39746688", "filename": "1953.286_full.tif"}}, "alternate_images": [{"date_created": "2008-01-16T16:59:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.286/1953.286_alt0_web.jpg", "width": "624", "height": "893", "filesize": "315761"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.286/1953.286_alt0_print.jpg", "width": "2375", "height": "3400", "filesize": "4497267"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.286/1953.286_alt0_full.tif", "width": "3047", "height": "4362", "filesize": "39923148"}}, {"date_created": "2008-01-16T18:48:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.286/1953.286_alt1_web.jpg", "width": "625", "height": "893", "filesize": "330826"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.286/1953.286_alt1_print.jpg", "width": "2380", "height": "3400", "filesize": "4439869"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.286/1953.286_alt1_full.tif", "width": "2964", "height": "4234", "filesize": "37699996"}}, {"date_created": "2008-01-16T19:06:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.286/1953.286_alt2_web.jpg", "width": "648", "height": "893", "filesize": "316314"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.286/1953.286_alt2_print.jpg", "width": "2468", "height": "3400", "filesize": "4620340"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.286/1953.286_alt2_full.tif", "width": "3166", "height": "4361", "filesize": "41477860"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130553, "creators": [{"id": 12130, "description": "Johann Baptist Hagenauer (Austrian, 1732\u20131810)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1732", "death_year": "1810", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-07-17T00:00:00", "sortable_date": 1756, "date_added_to_oa": null, "date_text": "1756", "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": "2026-05-01 06:49:13.296000"}, {"id": 146977, "accession_number": "1972.367", "share_license_status": "Copyrighted", "tombstone": "Detachable Figure (Dancer), 1915. Jacques Lipchitz (French, born in Lithuania, 1891\u20131973). Ebony and oak; overall: 98.1 cm (38 5/8 in.). The Cleveland Museum of Art, Gift of Mrs. Aye Simon, 1972.367", "current_location": "223 20th Century Avant-Garde", "title": "Detachable Figure (Dancer)", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["Jewish artists", "male"], "culture": ["France, 20th century"], "technique": "ebony and oak", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 98.1 cm (38 5/8 in.)", "dimensions": {"overall": {"height": 0.981, "height_inch": 38, "height_inch_fraction": 0.625}, "No Extent Specified": {"height": 0.984, "height_inch": 38, "height_inch_fraction": 0.75, "width": 0.213, "width_inch": 8, "width_inch_fraction": 0.375, "depth": 0.216, "depth_inch": 8, "depth_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}, {"id": 443402, "title": "The Planar Dimension: Europe 1912 - 1931", "description": "<i>The Planar Dimension: Europe 1912 - 1931</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (March 9-May 6, 1979).", "opening_date": "1979-03-09T05:00:00"}, {"id": 310042, "title": "Images of the Mind", "description": "<i>Images of the Mind</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 7-August 30, 1987).", "opening_date": "1987-07-07T04:00:00"}, {"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": 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"}], "legacy": []}, "provenance": [{"description": "Mrs. Aye Simon [1902-1992], New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1972", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1972-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inspired by artists Picasso and Braque, Lipchitz adapted their innovations in painting to sculpture. His series of <em>Detachable Figures</em> were made with solid blocks of material to simulate the geometric shapes of his friends' paintings. Born in Lithuania, then part of Russia, Lipchitz belonged to a circle of prominent Jewish artists active in the School of Paris that included Amedeo Modigliani and Cha\u00efm Soutine.", "description": "Jacques Lipchitz began making Cubist sculptures in 1915 and created several jointed or \u201cdetachable\u201d wood sculptures that mimicked everyday objects and appeared as if they could be reassembled or interchanged. Although this sculpture might initially seem abstract, a face with an eye, an upraised arm, an elongated torso, and curvy, kicking legs are recognizable. Lipchitz was born into a Jewish family in Lithuania, then part of the Russian Empire. At 18, he moved to Paris and established friendships with avant-garde artists such as Pablo Picasso and Amedeo Modigliani.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781273"], "internet_archive": []}, "citations": [{"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. 243", "url": "https://archive.org/details/CMAHandbook1978/page/n263"}, {"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. 115, no. 23", "url": ""}, {"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. 296", "url": ""}], "url": "https://clevelandart.org/art/1972.367", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Aye Simon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 146977, "creators": [{"id": 290200, "description": "Jacques Lipchitz (French, born in Lithuania, 1891\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "French sculptor, 1891-1973, active in the United States", "name_in_original_language": null, "birth_year": "1891", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-02-12T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "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": "2026-05-01 06:50:43.666000"}, {"id": 128808, "accession_number": "1951.430", "share_license_status": "CC0", "tombstone": "Sheet of Studies and Sketches, 1858. Edgar Degas (French, 1834\u20131917). Graphite, pen and dark brown ink, and watercolor on thick ivory wove paper; sheet: 30.4 x 23.5 cm (11 15/16 x 9 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1951.430", "current_location": null, "title": "Sheet of Studies and Sketches", "creation_date": "1858", "creation_date_earliest": 1858, "creation_date_latest": 1858, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite, pen and dark brown ink, and watercolor on thick ivory wove paper", "support_materials": [{"description": "ivory wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 30.4 x 23.5 cm (11 15/16 x 9 1/4 in.)", "dimensions": {"sheet": {"height": 0.304, "height_inch": 11, "height_inch_fraction": 0.9375, "width": 0.235, "width_inch": 9, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed, lower left, in graphite: Flor. 1857; stamped, lower left, in red ink: artist\u2019s stamp [Lugt 658]; verso, in red ink: estate stamp [Lugt 657]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 361386, "title": "19th and 20th Century Drawings", "description": "<i>19th and 20th Century Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 19-March 24, 1965).", "opening_date": "1965-02-19T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 361395, "title": "Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art, 1800\u20131870", "description": "<i>Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art, 1800\u20131870</i>. Shepherd Gallery, New York, NY (organizer) (May 20-June 28, 1975).", "opening_date": "1975-05-20T04:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 338947, "title": "The Private Degas", "description": "<i>The Private Degas</i>. Whitworth Art Gallery, Manchester, United Kingdom of Great Britain and Northern Ireland (January 20-February 28, 1987); Fitzwilliam Museum, Cambridge CB2 1RB (March 17-May 3, 1987).", "opening_date": "1987-01-20T05:00:00"}, {"id": 311433, "title": "Directions in Drawing: 1750-1988", "description": "<i>Directions in Drawing: 1750-1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 295862, "title": "Degas: A Passion for Perfection", "description": "<i>Degas: A Passion for Perfection</i>. Denver Art Museum, Denver, CO (organizer) (February 11-May 20, 2018).", "opening_date": "2018-02-11T05:00:00"}, {"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": []}, "provenance": [{"description": "Studio of the artist", "citations": [], "footnotes": null, "date": "1858 - 1917", "sortorder": 1}, {"description": "Estate of Edgar Degas [1834-1917], Paris", "citations": [], "footnotes": ["<div><!--block-->Lugt 658, lower left, in red ink; Lugt 657, verso, upper center, in red ink.</div>"], "date": "1917-1919", "sortorder": 2}, {"description": "(his fourth sale, Galerie Georges Petit, Paris, July 2-4, 1919, no. 74b, sold to Nun\u00e8s)", "citations": [], "footnotes": ["<div><!--block-->As \"T\u00eate de femme. -- T\u00eate d'homme. -- Lutteurs. -- Cavalier,\" for 2,000 F.</div>"], "date": "1919", "sortorder": 3}, {"description": "(Galerie Nun\u00e8s et Fiquet, Paris)", "citations": [], "footnotes": [], "date": "1919-?", "sortorder": 4}, {"description": "Private collection", "citations": [], "footnotes": null, "date": "after 1919-by 1931", "sortorder": 5}, {"description": "(Victor D. Spark, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "by 1950-1951", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1951-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The date Degas wrote on this drawing is incorrect; he didn't visit Florence until 1858, and must have inscribed the sheet years later.", "description": "Degas traveled to Florence, Italy, in July 1858, where he made this sheet of studies. The featured imagery is fragmented and dissociated, suggesting the young artist's engagement with art of the past. The refined female head drawn at center in graphite was copied from a drawing then attributed to Leonardo da Vinci in the Uffizi Gallery's collection. Other sketches record Degas's responses to Florentine sculpture. At upper right, he sketched an informal portrait of his cousin Giulia Bellelli, probably from life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781314"], "internet_archive": ["https://archive.org/details/clevelandart-1951.430-sheet-of-studies-and"]}, "citations": [{"citation": "<em>Catalogue des tableaux, pastels et dessins par Edgar Degas et provenant de son atelier</em>. Paris: Galerie Georges Petit, 1919.", "page_number": "Mentioned and reproduced: p. 70, no. 74b", "url": null}, {"citation": "George, Waldemar. \"The Youth of Degas.\" <em>Formes</em> 15 (May 1931).", "page_number": "Reproduced: after p. 76", "url": null}, {"citation": "Graber, Hans. <em>Edgar Degas: Nach eigenen und fremden Zeugnissen</em>. Basel: Benno Schwabe, 1942.", "page_number": "Mentioned: p. 246, Reproduced: opp. p. 20.", "url": null}, {"citation": "Henry S. Francis. \"Drawings by Degas.\" <em>The Bulletin of the Cleveland Museum of Art</em> 44, no. 10 (December 1957): 212-217", "page_number": "Mentioned: p. 213; Reproduced: p. 210", "url": "https://www.jstor.org/stable/25142248"}, {"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. 601", "url": "https://archive.org/details/CMAHandbook1958/page/n112"}, {"citation": "Vitali, Lamberto. \u201cThree Italian Friends of Degas.\u201d <em>Burlington Magazine</em> 105, no. 723 (June 1963): 266-73.", "page_number": "Mentioned: pp. 266 n. 4, 269 n. 6", "url": ""}, {"citation": "Reymert, Martin L. H. and Gary Koehler. <em>Ingres &amp; Delacroix through Degas &amp; Puvis de Chavannes: The Figure in French Art, 1800\u20131870</em>. Exh. cat. New York: Shepherd Gallery, 1975.", "page_number": "Mentioned and reproduced: cover, pp. 317-18, no. 134", "url": null}, {"citation": "Russoli, Franco. <em>L\u2019Opera completa di Degas</em>. Milan: Rizzoli, 1978.", "page_number": "Reproduced: pp. 86-87, no. 17", "url": null}, {"citation": "Thomson, Richard. <em>The Private Degas</em>. Exh. cat. London: Arts Council of Great Britain, 1987.", "page_number": "Mentioned: pp. 15-17, 51, 138, no. 10; Reproduced: plate 65.", "url": null}, {"citation": "DeGrazia, Diane and Carter E. Foster.<em> Master Drawings from the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: p. 8, pp. 132-33, p. 290; Reproduced: p. 133", "url": null}, {"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. 14", "url": "https://archive.org/details/CMAMM2014-01"}, {"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. 16", "url": ""}, {"citation": "Reff, Theodore. <em>The Letters of Edgar Degas</em>. New York: Wildenstein Plattner, 2020.", "page_number": "Mentioned: vol. 1, p. 114 n. 3.", "url": ""}, {"citation": "Salsbury, Britany. \u201cNineteenth-Century French Drawings: The widely recognized collection of the Cleveland Museum of Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no. 4 (December 2022): Cover, 18-19.", "page_number": "Reproduced and Mentioned: p. 18.", "url": "https://archive.org/details/CMAMM2022-04/page/18/mode/2up"}, {"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 2, fig. 2", "url": ""}, {"citation": "Mayhew, Timothy David. \"Traditional 19th-Century French Graphite Drawing Materials and Techniques.\" In <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art, </em>43-51. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 48-49, fig. 28", "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. 98-99, no. 10", "url": ""}], "url": "https://clevelandart.org/art/1951.430", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.430/1951.430_web.jpg", "width": "700", "height": "900", "filesize": "319743", "filename": "1951.430_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.430/1951.430_print.jpg", "width": "2645", "height": "3400", "filesize": "4331336", "filename": "1951.430_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.430/1951.430_full.tif", "width": "9368", "height": "12042", "filesize": "338455098", "filename": "1951.430_full.tif"}}, "alternate_images": [{"date_created": "2010-11-05T14:57:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt0_web.jpg", "width": "693", "height": "893", "filesize": "505658"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt0_print.jpg", "width": "2640", "height": "3400", "filesize": "8038217"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt0_full.tif", "width": "4992", "height": "6429", "filesize": "96309500"}}, {"date_created": "2007-08-27T14:54:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt1_web.jpg", "width": "694", "height": "893", "filesize": "480459"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt1_print.jpg", "width": "2643", "height": "3400", "filesize": "6986188"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt1_full.tif", "width": "4275", "height": "5500", "filesize": "70570264"}}, {"date_created": "2021-07-01T19:14:15.022000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt2_web.jpg", "width": "714", "height": "900", "filesize": "276310"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt2_print.jpg", "width": "2698", "height": "3400", "filesize": "2273944"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt2_full.tif", "width": "3760", "height": "4739", "filesize": "53492928"}}, {"date_created": "2021-07-07T10:36:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt3_web.jpg", "width": "700", "height": "900", "filesize": "273024"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt3_print.jpg", "width": "2645", "height": "3400", "filesize": "4064020"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt3_full.tif", "width": "9368", "height": "12041", "filesize": "338424726"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128808, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-11-15T00:00:00", "sortable_date": 1858, "date_added_to_oa": null, "date_text": "1858", "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": ["Sheet of Sketches"], "is_highlight": true, "updated_at": "2026-05-01 06:49:02.942000"}, {"id": 320778, "accession_number": "2019.18", "share_license_status": "CC0", "tombstone": "Banks of the Oise at Dawn, 1888. Louis Hayet (French, 1864\u20131940). Oil on canvas; 51 x 71 cm (20 1/16 x 27 15/16 in.). The Cleveland Museum of Art, Sundry Art - Miscellaneous Fund, 2019.18", "current_location": "222 Impressionism & Post-Impressionism", "title": "Banks of the Oise at Dawn", "creation_date": "1888", "creation_date_earliest": 1887, "creation_date_latest": 1888, "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": "51 x 71 cm (20 1/16 x 27 15/16 in.)", "dimensions": {"No Extent Specified": {"width": 0.51, "width_inch": 20, "width_inch_fraction": 0.0625, "depth": 0.71, "depth_inch": 27, "depth_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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"}], "legacy": [{"description": "<em>Louis Hayet, oeuvres ne\u0301o-impressionnistes de 1885 \u00e0 1895</em>, Muse\u0301e Tavet, 13 April - 4 August 1991.", "opening_date": "1991-04-13T00:00:00"}, {"description": "<em>Post-impressionism : cross-currents in European painting.</em> Royal Academy of Arts, London, United Kingdom (November 17, 1979 - March 16, 1980).", "opening_date": "1979-11-17T00:00:00"}, {"description": "<em>Georges Seurat, Paul Signac e i neoimpressionisti.</em> Palazzo Reale, Milan, Italy (October, 2008-January 25, 2009).", "opening_date": "2009-01-25T00:00:00"}, {"description": "<em>Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music</em>. The Phillips Collection, Washington, DC (September 27, 2014-January 11, 2015).", "opening_date": "2014-09-27T00:00:00"}]}, "provenance": [{"description": "Louis Hayet, the artist", "citations": [], "footnotes": null, "date": "1888", "sortorder": 1}, {"description": "George Hayet, the artist's  son", "citations": [], "footnotes": null, "date": "1940", "sortorder": 2}, {"description": "Marie-Claude Fischer, Paris", "citations": [], "footnotes": null, "date": "c. 1960s-1976", "sortorder": 3}, {"description": "Samuel Josefowitz, Lausanne, Switzerland", "citations": [], "footnotes": null, "date": "1976", "sortorder": 4}, {"description": "Private Collector, Switzerland", "citations": [], "footnotes": null, "date": "c. 2015", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hayet received considerable critical praise for his original idea of developing a Neo-Impressionist color chart that incorporates gray tones.", "description": "Louis Hayet was an important, early practitioner of Neo-Impressionism, or Pointillism, the practice of applying small strokes or dots of paint so that from a distance the hues visually blend together and create an intense sensation of color and light. Notice the way in which Hayet painted the pale dawn sky\u2014and its reflection in the River Oise\u2014with strokes of pink, orange, blue, yellow, and green paint. When seen at a distance, the effect is of early morning, before the sun has fully risen.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875900"], "internet_archive": ["https://archive.org/details/clevelandart-2019.18-banks-of-the-oise-at"]}, "citations": [{"citation": "House, John, and Mary Anne Stevens. <em>Post-Impressionism: Cross-Currents in European Painting</em>. London: Royal Academy of Arts, 1979.<br>Published as: \"<em>River Landscape</em>\"", "page_number": "Mentioned: P. 86, no. 109; Reproduced: p. 112, no. 109", "url": null}, {"citation": "Dulon, Guy, Louis Hayet, and Christophe Duvivier. <em>Louis Hayet: 1864-1940 : peintre et the\u0301oricien du ne\u0301o-impressionnisme</em>. Pontoise: Muse\u0301e de Pontoise, 1991.", "page_number": "Reproduced: p. 118.", "url": null}, {"citation": "Bocquillon-Ferretti, Marina. <em>Georges Seurat, Paul Signac e i neoimpressionisti</em>. Milan: Skira, 2008.", "page_number": "Reproduced: p. 118", "url": null}, {"citation": "Homburg, Cornelia et al. <em>Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music</em>. New Haven: Yale University Press, 2014.", "page_number": "Reproduced: p. 46; Detail; p. 51", "url": null}, {"citation": "Robinson, William H. \"Acquisitions 2019: European Paintings and Sculpture, 1500-1800,\" <em>Cleveland Museum of Art Members Magazine </em>(March/April 2020): Cover, 17.", "page_number": "Reproduced: Cover, P. 17; Mentioned: P. 17.", "url": null}], "url": "https://clevelandart.org/art/2019.18", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.18/2019.18_web.jpg", "width": "900", "height": "643", "filesize": "535001", "filename": "2019.18_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.18/2019.18_print.jpg", "width": "3400", "height": "2430", "filesize": "6766890", "filename": "2019.18_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.18/2019.18_full.tif", "width": "8923", "height": "6378", "filesize": "170759852", "filename": "2019.18_full.tif"}}, "alternate_images": [{"date_created": "2019-04-16T20:32:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt0_web.jpg", "width": "900", "height": "649", "filesize": "268983"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt0_print.jpg", "width": "3400", "height": "2452", "filesize": "4462234"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt0_full.tif", "width": "9492", "height": "6845", "filesize": "194945140"}}, {"date_created": "2019-04-16T20:22:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt1_web.jpg", "width": "900", "height": "710", "filesize": "483041"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt1_print.jpg", "width": "3400", "height": "2681", "filesize": "5869042"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt1_full.tif", "width": "12170", "height": "9597", "filesize": "350417072"}}], "creditline": "Sundry Art - Miscellaneous Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 320778, "creators": [{"id": 320781, "description": "Louis Hayet (French, 1864\u20131940)", "extent": null, "qualifier": null, "role": null, "biography": "French painter, 1864-1940", "name_in_original_language": null, "birth_year": "1864", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1887, "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": [], "is_highlight": false, "updated_at": "2026-05-01 06:53:57.816000"}, {"id": 83373, "accession_number": "2020.119", "share_license_status": "CC0", "tombstone": "Woman Ironing, 1892. \u00c9douard Vuillard (French, 1868\u20131940). Oil on board; unframed: 21.4 x 25.4 cm (8 7/16 x 10 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.119", "current_location": "223 20th Century Avant-Garde", "title": "Woman Ironing", "creation_date": "1892", "creation_date_earliest": 1892, "creation_date_latest": 1892, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 21.4 x 25.4 cm (8 7/16 x 10 in.)", "dimensions": {"unframed": {"height": 0.214, "height_inch": 8, "height_inch_fraction": 0.4375, "width": 0.254, "width_inch": 10, "width_inch_fraction": 0.0}, "framed": {"height": 0.314, "height_inch": 12, "height_inch_fraction": 0.375, "width": 0.335, "width_inch": 13, "width_inch_fraction": 0.1875, "depth": 0.029, "depth_inch": 1, "depth_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left: e v", "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": 371563, "title": "Degas and the Laundress: Women, Work, and Impressionism", "description": "<i>Degas and the Laundress: Women, Work, and Impressionism</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2023-January 14, 2024).", "opening_date": "2023-10-08T04:00:00"}], "legacy": [{"description": "<em>\u00c9douard Vuillard</em>. Mus\u00e9e National d'Art Moderne, Paris, France (1960-1961).", "opening_date": "1960-01-01T00:00:00"}, {"description": "<em>\u00c9douard Vuillard</em>. Mus\u00e9e de l'Orangerie, Paris, France (1966).", "opening_date": "1966-01-01T00:00:00"}, {"description": "<em>Edouard Vuillard, K-X Roussel</em>. Haus der Kunst, Munich, Germany (March 16-May 12, 1968); Musee de l'Orangerie, Paris, France (May 28-September 16, 1968).", "opening_date": "1968-03-16T00:00:00"}]}, "provenance": [{"description": "Alfred Athis Natanson [1873-1932], Paris France", "citations": [], "footnotes": ["<div><!--block-->According to Pierre Georgel, <em>E\u0301douard Vuillard, K.-X. Roussel</em> (Paris: Re\u0301union des Muse\u0301es nationaux, 1968), pp. 69, 145, cat. no. 14. Alfred Natanson used the pseudonym Alfred Athis for his playwright career.&nbsp;</div>"], "date": null, "sortorder": 1}, {"description": "passed to his daughter, Annette Charbonnier [1901\u20132002], Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "passed to her son, Jean Philippe Charbonnier [1921\u20132004], Paris, France", "citations": [], "footnotes": ["<div><!--block-->According to a bill of sale in the curatorial file.</div>"], "date": null, "sortorder": 3}, {"description": "(Galerie Hopkins, Paris, France, April 26, 2013, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": null, "date": "2013", "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2013\u20132020", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1888, Vuillard wrote in his journal: \"A form or a color exists only in relation to another. Form does not exist on its own. We can only conceive of the relations.\"", "description": "This spare painting depicts a woman ironing a garment, while a sliver of light illuminates the side of her face and the cup held in her left hand. The subject belongs to a series of paintings of women ironing or sewing inspired by \u00c9douard Vuillard\u2019s close observation of his mother and sister making corsets and dresses in their crowded Parisian apartment.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480845"], "internet_archive": ["https://archive.org/details/clevelandart-2020.119-laundress", "https://archive.org/details/clevelandart-2020.119-woman-ironing"]}, "citations": [{"citation": "Georgel, Pierre. <em>E\u0301douard Vuillard, K.-X. Roussel. Haus der Kunst, Munich, 16 mars-12 mai 1968. Orangerie des Tuileries, 28 mai-16 septembre 1968</em>. Paris, France: Re\u0301union des Muse\u0301es nationaux, 1968.", "page_number": "Mentioned: P. 69; Reproduced: P. 145, no. 14", "url": null}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan, Italy: Skira, 2003.", "page_number": "Mentioned and Reproduced: Vol. I, P. 281, no. IV-98", "url": null}, {"citation": "Groom, Gloria. \"Edouard Vuillard.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 76-101. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 76-77; Mentioned: p. 273-274", "url": ""}, {"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Reproduced: p. 171", "url": ""}], "url": "https://clevelandart.org/art/2020.119", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.119/2020.119_web.jpg", "width": "900", "height": "748", "filesize": "321353", "filename": "2020.119_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.119/2020.119_print.jpg", "width": "3400", "height": "2827", "filesize": "3854914", "filename": "2020.119_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.119/2020.119_full.tif", "width": "8326", "height": "6923", "filesize": "172949040", "filename": "2020.119_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 83373, "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}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "1892", "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": "2026-05-01 06:45:33.010000"}, {"id": 128285, "accession_number": "1951.277", "share_license_status": "CC0", "tombstone": "View of a Castle (recto); Eight-Sided Cup (verso), 1513. Wolfgang Huber (Austrian, 1490\u20131553). Pen and brown ink; sheet: 13.1 x 21.2 cm (5 3/16 x 8 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 1951.277", "current_location": null, "title": "View of a Castle (recto); Eight-Sided Cup (verso)", "creation_date": "1513", "creation_date_earliest": 1513, "creation_date_latest": 1513, "artists_tags": ["male"], "culture": ["Austria"], "technique": "pen and brown ink", "support_materials": [], "department": "Drawings", "collection": "DR - Austrian", "type": "Drawing", "measurements": "Sheet: 13.1 x 21.2 cm (5 3/16 x 8 3/8 in.)", "dimensions": {"sheet": {"height": 0.131, "height_inch": 5, "height_inch_fraction": 0.1875, "width": 0.212, "width_inch": 8, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "recto: upper center, in brown ink: 1513; lower left, in brown ink: v. h\r\nverso: by artist?, across entire sheet, in black ink: [Ov]iduss Beschribet gar schon / Von einem Cunig Akteon / Wie er aing mal\u00df wolt jagen thain / jagt hin und da jm Holtze / fand er ein G\u00f6ttin Rein vnd stoltze / Diana / die padet mit jeren junkfrauen / die peg\u00fcnnt er an zu schowen / Da\u00df es sie ser verdross / sy in mit Wasser pegoss / Zw [illegible] Hirschen un wissent / da\u00df jm sin eigen H\u00fcnt zeryssen / Da\u00df er sich zum Hirschen verkert / von seinen Hunden zerrissen zu d[illegible] / Erd [sideways]; upper center, in red chalk: [illegible, crossed out] / adltof.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300830, "title": "German Drawings", "description": "<i>German Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 11-December 18, 1955).", "opening_date": "1955-11-11T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 301689, "title": "Drawings from the Museum Collection: 15th-17th Centuries", "description": "<i>Drawings from the Museum Collection: 15th-17th Centuries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 18-October 11, 1960).", "opening_date": "1960-05-18T04:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 350002, "title": "Old Master Drawings", "description": "<i>Old Master Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 10-31, 1964).", "opening_date": "1964-03-10T05:00:00"}, {"id": 350269, "title": "Prints and Drawings from the Cleveland Museum of Art Collection", "description": "<i>Prints and Drawings from the Cleveland Museum of Art Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-September 9, 1965).", "opening_date": "1965-05-06T04:00:00"}, {"id": 350752, "title": "Old Master Prints and Drawings", "description": "<i>Old Master Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 29, 1966-February 28, 1967).", "opening_date": "1966-07-29T04:00:00"}, {"id": 351065, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9, 1967-January 1, 1968).", "opening_date": "1967-06-09T04:00:00"}, {"id": 361381, "title": "Prints and Drawings of the Danube School", "description": "<i>Prints and Drawings of the Danube School</i>. Yale University Art Gallery, New Haven, CT (organizer) (October 9-November 16, 1969); Philadelphia Museum of Art, Philadelphia, PA (December 11, 1969-January 25, 1970); Saint Louis Art Museum (February 10-March 24, 1970).", "opening_date": "1969-10-09T04:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 311557, "title": "The German Tradition", "description": "<i>The German Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 27, 1993).", "opening_date": "1993-04-27T04:00:00"}], "legacy": []}, "provenance": [{"description": "Arnold Otto Meyer, Hamburg (1825-1903), Lugt 1994 (not stamped)", "citations": [], "footnotes": [], "date": "?-1914", "sortorder": 1}, {"description": "his sale, C. G. Boerner, Leipzig, 19-20 March 1914, no. 300", "citations": [], "footnotes": [], "date": "1914", "sortorder": 2}, {"description": "art market, 1930 (according to Halm 1930, 4)", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Probably Collection Prince Franz Josef II von Liechtenstein (1906-1989), Vienna (according to file; no stamp)", "citations": [], "footnotes": [], "date": "?-ca. 1950", "sortorder": 4}, {"description": "with Kunsthandlung Walter Feilchenfeldt, Zurich", "citations": [], "footnotes": [], "date": "1950", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This sheet of paper, with drawings on both sides, as well as a poem, shows how artists in the Renaissance often used one sheet of paper for various purposes.", "description": "This drawing depicts a castle in southern Germany in the area around the Danube River known for its wooded and rocky heights and dramatic views. Wolfgang Huber's meandering, pen and ink lines describe the contours of the earth and the lushness of summer foliage in a horizontal layout that focuses on the middle distance with a barely recorded foreground. Huber may have made the drawing during a journey between Feldkirch and Vienna as he traveled along the Danube. In 1513 when this drawing was made, landscape was rarely depicted as a subject in and of itself, but artists in the Danube region such as Huber exhibited a profound sensitivity to nature. A drawing on the reverse of the sheet depicts a cup studded with gems and a poem written in a contemporary hand telling the mythological story of Actaeon's transformation into a stag when he intruded upon the goddess Diana and her nymphs bathing.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79908710"], "internet_archive": ["https://archive.org/details/clevelandart-1951.277-view-of-a-castle-rec"]}, "citations": [{"citation": "Weinberger, Martin. Wolfgang Huber. Leipzig: Im Inselverlag, 1930.", "page_number": "no. 18; pp. 56-57, 68, 231", "url": null}, {"citation": "Halm, Peter, \"Die Landschaftzeichnungen des Wolfgang Huber. Mit 35 Abbildungen,\" M\u00fcnchner Jahrbuch der Bildenden Kunst VII (1930): pp. 1-104.", "page_number": "no 47; pp. 4, 8, 90-91", "url": null}, {"citation": "Horn, Adam, \"Eine Wiederentdeckte Alte Ansicht der Burg Harburg im Ries,\" Zeitschrift des Historischen Vereins f\u00fcr Schwaben LVII (1950): pp. 35-37.", "page_number": "pp. 35-37", "url": null}, {"citation": "Francis, Henry. \"A Pen Drawing by Wolfgang Huber.\" <em>The Bulletin of the Cleveland Museum of Art </em>39, no. 3 (March 1952): 53-55.", "page_number": "Reproduced: p. 51; Mentioned: p. 54", "url": "https://www.jstor.org/stable/25141779"}, {"citation": "Heinzle, Erwin. Wolf Huber, um 1485-1553. Innsbruck: Universita\u0308tsverlag Wagner, 1953.", "page_number": "no. 14; pp. 11, 15, 46", "url": null}, {"citation": "Oettinger, Karl. Datum und Signatur bei Wolf Huber und Albrecht Altdorfer; zur Beschriftungskritik der Donauschulzeichnungen. Erlangen: [Universita\u0308tsbund Erlangen], 1957.", "page_number": "no. 9, pp. 12, 25-26, 69", "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. 582", "url": "https://archive.org/details/CMAHandbook1958/page/n109"}, {"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. 112", "url": "https://archive.org/details/CMAHandbook1966/page/n136"}, {"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. 112", "url": "https://archive.org/details/CMAHandbook1969/page/n136"}, {"citation": "Talbot, Charles W., and Alan Shestack<em>. Prints and Drawings of the Danube School; An Exhibition of South German and Austrian Graphic Art of 1500 to 1560.</em> New Haven: Printed by the Carl Purington Rollins Printing-Office of the Yale University Press, 1969.", "page_number": "Mentioned and Reproduced: p. 11, p. 16, pp. 76-77, no. 78, pl. 41", "url": null}, {"citation": "Stange, Alfred. Malerei der Donauschule. Mu\u0308nchen: Bruckmann, 1971.", "page_number": "p. 96", "url": null}, {"citation": "Rose, Patricia. Wolf Huber Studies: Aspects of Renaissance Thought and Practice in Danube School Painting. New York: Garland Pub, 1977.", "page_number": "p. 5 n4", "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. 131", "url": "https://archive.org/details/CMAHandbook1978/page/n151"}, {"citation": "Winzinger,Franz. Das Gesamtwerk. Mu\u0308nchen: Hirmer Verlag, 1979.", "page_number": "1: no. 22; pp. 7, 8, 82-83, 193, 2: p. VII, pl 22, A7, XIV", "url": null}, {"citation": "Dunbar, Burton L., and Edward J. Olszewski. Drawings in Midwestern Collections: A Corpus. Columbia: University of Missouri Press, 1996.", "page_number": "no. 100, pp. 166-168.", "url": ""}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: P. 150-51, 292; Reproduced: P. 151, cat. no. 60", "url": null}, {"citation": "Dunbar, Burton L., et al. Sixteenth-Century Northern European Drawings. London, England: Harvey Miller, 2012.", "page_number": "no. 100, pp. 166-168", "url": null}, {"citation": "Wood, Christopher S., and Albrecht Altdorfer. Albrecht Altdorfer and the Origins of Landscape. 2014.", "page_number": "p. 203", "url": ""}, {"citation": "Jenkins, Catherine, et al. <em>The Renaissance of Etching</em>. <br>New York, New York : The Metropolitan Museum of Art, 2019.", "page_number": "Mentioned: p. 47; reproduced: p. 99, fig. 42", "url": null}], "url": "https://clevelandart.org/art/1951.277", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.277/1951.277_web.jpg", "width": "900", "height": "281", "filesize": "193046", "filename": "1951.277_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.277/1951.277_print.jpg", "width": "3400", "height": "1063", "filesize": "1688585", "filename": "1951.277_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.277/1951.277_full.tif", "width": "12910", "height": "4036", "filesize": "156339200", "filename": "1951.277_full.tif"}}, "alternate_images": [{"date_created": "2009-09-30T18:28:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.277/1951.277_alt0_web.jpg", "width": "900", "height": "571", "filesize": "212136"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.277/1951.277_alt0_print.jpg", "width": "3400", "height": "2156", "filesize": "2500224"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.277/1951.277_alt0_full.tif", "width": "6316", "height": "4006", "filesize": "75931300"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128285, "creators": [{"id": 12039, "description": "Wolfgang Huber (Austrian, 1490\u20131553)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1490", "death_year": "1553", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-07-26T00:00:00", "sortable_date": 1513, "date_added_to_oa": null, "date_text": "1513", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Harburg Castle", "View of a Castle (Harburg Castle?)"], "is_highlight": false, "updated_at": "2026-05-01 06:49:00.218000"}, {"id": 84662, "accession_number": "2020.107", "share_license_status": "CC0", "tombstone": "The Orange Christ, 1889. Maurice Denis (French, 1870\u20131943). Oil on board; unframed: 23.8 x 18.9 cm (9 3/8 x 7 7/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.107", "current_location": null, "title": "The Orange Christ", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["Nabis", "male"], "culture": ["France"], "technique": "oil on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 23.8 x 18.9 cm (9 3/8 x 7 7/16 in.)", "dimensions": {"framed": {"height": 0.287, "height_inch": 11, "height_inch_fraction": 0.3125, "width": 0.335, "width_inch": 13, "width_inch_fraction": 0.1875, "depth": 0.054, "depth_inch": 2, "depth_inch_fraction": 0.125}, "unframed": {"height": 0.238, "height_inch": 9, "height_inch_fraction": 0.375, "width": 0.189, "width_inch": 7, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "vertical studio monogram, lower left", "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"}], "legacy": [{"description": "<em>Maurice Denis</em>. Galerie Beaux-Arts, Paris, France (1963<em>).</em>", "opening_date": "1963-01-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Mus\u00e9e Toulouse-Lautrec, Albi, France (June 28-September 29, 1963).", "opening_date": "1963-06-28T00:00:00"}, {"description": "<em>Maurice Denis</em>. Wildenstein Gallery, London, United Kingdom (1964).", "opening_date": "1964-01-01T00:00:00"}, {"description": "<em>Maurice Denis et les Nabis</em>. Mus\u00e9e des beaux-arts, Angers, France (June 1-August 31, 1967).", "opening_date": "1967-06-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Orangerie des Tuilleries, Paris, France (June 1-August 31, 1970).", "opening_date": "1970-06-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Salles d'Exposition du Grenier \u00e0 Sel, Honfleur, France (July - Aug. 1975).", "opening_date": "1975-07-01T00:00:00"}, {"description": "<em>Vincent van Gogh and the Birth of Cloisonism</em>. Art Gallery of Ontario, Toronto, Ontario (January 24 - March 22, 1981); Rijksmuseum, Amsterdam, Netherlands (April 9 - 14 June 1981).", "opening_date": "1981-01-24T00:00:00"}, {"description": "<em>Maurice Denis - 100 ans apres a Alencon</em>. Mus\u00e9e des Beaux-Arts de la Dentelle d'Alencon, Alencon, France (July 6-September 29, 1985).", "opening_date": "1985-07-06T00:00:00"}, {"description": "<em>Le chemin de Gauguin : genese et rayonnement</em>. Mus\u00e9e du Prieure, Yvelines, France (October 7, 1985- March 2, 1986).", "opening_date": "1985-10-07T00:00:00"}, {"description": "<em>The Spiritual in Art: Abstract Painting 1890-1985</em>. Los Angeles County Museum of Art, Los Angeles, CA organizer) (November 23, 1986-March 8, 1987); Museum of Contemporary Art, Chicago, IL (April 17-July 19, 1987); Haags Gemeentemuseum, (September 1-November 22, 1987).", "opening_date": "1987-04-17T00:00:00"}, {"description": "<em>Maurice Denis, 1870-1943. </em>Muse\u0301e des Beaux-Arts, Lyon, France (September 29-December 18, 1994); Wallraf-Richarts Museum, Cologne, Germany (January 22-April 2,1995); Walker Art Gallery, Liverpool, United Kingdom (April 21-June 18, 1995); Van Gogh Museum, Amsterdam, Netherlands (July 7-September 17, 1995).", "opening_date": "1994-09-29T00:00:00"}, {"description": "<em>Gauguin\u2019s Vision. </em>Royal Scottish Academy Building, Edinburgh, Scotland (July 6- October 2, 2005).", "opening_date": "2005-07-06T00:00:00"}]}, "provenance": [{"description": "The artist's studio", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "By descent to the artist\u2019s son, Jean-Fran\u00e7ois Denis [1915\u20132004], Alen\u00e7on, France", "citations": [], "footnotes": ["<div><!--block-->[1] According to Anne Distel, <em>Maurice Denis </em>(Paris: Ministe\u0300re d'E\u0301tat, Affaires culturelles, 1970), cat. no. 7, the painting was in the collection of J.F. Denis, Alen\u00e7on.&nbsp;</div>"], "date": null, "sortorder": 2}, {"description": "(Galerie Hopkins Custot, Paris, France, March 21, 2007, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": ["<div><!--block-->[2] According to Belinda Thomson, Frances Fowle, and Lesley Stevenson, <em>Gauguin\u2019s Vision</em> (Edinburgh: National Galleries of Scotland, 2005), p. 83, fig. 102, ill.</div>"], "date": "by 2005\u20132007", "sortorder": 3}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2007\u20132020", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "As reflected in the two-dimensionality and color blocking in this painting, Denis believed a painting was \"a flat surface covered with colors assembled in a certain order.\"", "description": "A devout Catholic, Maurice Denis sought to create what he described as \u201cimperishable icons.\u201d In this small painting, he used flat planes of intense colors to conjure emotion in the viewer. Here, a somber group of women, depicted as amorphous black forms, gather around an orange figure of Christ on the cross. The sky is a reddish-purple streaked with green clouds. Pink angels flank the crucified Christ whose head is haloed in brilliant yellow. In this painting, the daring young artist combined religious fervor with unprecedented visual experimentation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480871"], "internet_archive": ["https://archive.org/details/clevelandart-2020.107-the-orange-christ"]}, "citations": [{"citation": "Muse\u0301e Toulouse-Lautrec. <em>Exposition Maurice Denis; peintures, aquarelles, dessins, lithographies, du 28 juin au 29 septembre 1963, Muse\u0301e Toulouse-Lautrec. </em>Albi.1963.", "page_number": "Mentioned: P. 21, cat. no. 5", "url": null}, {"citation": "Angers. <em>Maurice Denis &amp; les Nabis: exposition Muse\u0301e des Beaux-Arts d'Angers, du 1er juin au 31 aou\u0302t 1967</em>. Angers, France: Le Muse\u0301e, 1967.", "page_number": "Mentioned: no. 2", "url": null}, {"citation": "Distel, Anne. <em>Maurice Denis. Orangerie des Tuileries, 3 juin-31 aou\u0302t 1970</em>. Paris, France: Ministe\u0300re d'E\u0301tat, Affaires culturelles, 1970.", "page_number": "Mentioned: no. 7", "url": null}, {"citation": "<em>Maurice Denis, 1870-1943</em>. Honfleur, France: Societe des artistes Honfleurais, 1975.", "page_number": "Mentioned: no. 3", "url": null}, {"citation": "Welsh-Ovcharov, Bogomila, and Vincent van Gogh. <em>Vincent Van Gogh and the Birth of Cloisonism</em>. Toronto: Art Gallery of Ontario, 1981.", "page_number": "Mentioned and Reproduced: p. 380, no. 143", "url": null}, {"citation": "Welsh-Ovcharov, Bogomila. <em>Vincent Van Gogh and the Birth of Cloisonism</em>. Toronto, Ontario: Art Gallery of Ontario, 1981.", "page_number": "Reproduced: p. 380, no. 143", "url": null}, {"citation": "Janin-Juvigny, Sophie, Franc\u0327oise Ramassamy, and Guy Taburet. <em>100 ans apre\u0300s a\u0300 Alenc\u0327on:</em> 6 juillet-29 septembre 1985, Muse\u0301e des beaux-arts et de la dentelle. Alenc\u0327on, France: Le Muse\u0301e, 1985.", "page_number": "Reproduced: p. 25, no. 19", "url": null}, {"citation": "<em>Le chemin de Gauguin: gene\u0300se et rayonnement. </em>Saint-Germain-en-Laye, France: Muse\u0301e de\u0301partemental du Prieure\u0301, 1985.", "page_number": "Reproduced: P. 94", "url": ""}, {"citation": "Tuchman, Maurice, Judi Freeman, and Carel Blotkamp. <em>The Spiritual in Art: Abstract Painting 1890-1985.</em> New York: Abbeville Press, 1986.", "page_number": "Reproduced: P. 353-354", "url": ""}, {"citation": "Muse\u0301e des Beaux Arts, Wallraf-Richartz Museum, Walker Art Gallery, and Van Gogh Museum. <em>Maurice Denis: 1870-1943. </em>Paris, France: Re\u0301union des Muse\u0301es Nationaux, 1994.", "page_number": "Mentioned and Reproduced: P. 139, no. 19", "url": null}, {"citation": "Thomson, Belinda, Frances Fowle, and Lesley Stevenson. <em>Gauguin's Vision. </em>Edinburgh: National Galleries of Scotland, 2005.", "page_number": "Mentioned and reproduced: P. 83, fig. 102", "url": ""}, {"citation": "Stahl, Fabienne. \"Maurice Denis.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 68-73. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 68-73; Mentioned: p. 261-263", "url": ""}], "url": "https://clevelandart.org/art/2020.107", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.107/2020.107_web.jpg", "width": "726", "height": "900", "filesize": "373699", "filename": "2020.107_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.107/2020.107_print.jpg", "width": "2741", "height": "3400", "filesize": "3893285", "filename": "2020.107_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.107/2020.107_full.tif", "width": "4462", "height": "5535", "filesize": "74119012", "filename": "2020.107_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 84662, "creators": [{"id": 22965, "description": "Maurice Denis (French, 1870\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "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": "2026-05-01 06:45:34.806000"}, {"id": 157228, "accession_number": "1994.106", "share_license_status": "CC0", "tombstone": "A Calm Watering Place--Extensive and Boundless Scene with Cattle, 1816. Alvan Fisher (American, 1792\u20131863). Oil on panel; unframed: 78 x 102.2 cm (30 11/16 x 40 1/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1994.106", "current_location": "206 American Landscape", "title": "A Calm Watering Place--Extensive and Boundless Scene with Cattle", "creation_date": "1816", "creation_date_earliest": 1816, "creation_date_latest": 1816, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 78 x 102.2 cm (30 11/16 x 40 1/4 in.)", "dimensions": {"unframed": {"height": 0.78, "height_inch": 30, "height_inch_fraction": 0.6875, "width": 1.022, "width_inch": 40, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Alexander Gallery, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Some of his fellow artists hired Alvan Fisher to paint animals into their own works because he was so skilled at it.", "description": "In this prime example of Fisher\u2019s early rural pictures, a ferry delivers two wealthy women and their belongings ashore, as a herd of especially handsome cattle rests in the foreground. Boston-based Fisher was among the first American artists to specialize in landscape, recalling that \u201cThis species of painting being novel in this part of the country, I found it a more lucrative, pleasant and distinguishing branch of the art than portrait painting.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477050"], "internet_archive": ["https://archive.org/details/clevelandart-1994.106-a-calm-watering-plac"]}, "citations": [{"citation": "Steinberg, David., \"Right Time, Wrong Place\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 35 no. 04, April 1995", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM1995-04/page/8"}], "url": "https://clevelandart.org/art/1994.106", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1994.106/1994.106_web.jpg", "width": "1263", "height": "893", "filesize": "797209", "filename": "1994.106_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1994.106/1994.106_print.jpg", "width": "3400", "height": "2404", "filesize": "5428003", "filename": "1994.106_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1994.106/1994.106_full.tif", "width": "5000", "height": "3536", "filesize": "53066376", "filename": "1994.106_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 157228, "creators": [{"id": 2894, "description": "Alvan Fisher (American, 1792\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1792", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-09-07T00:00:00", "sortable_date": 1816, "date_added_to_oa": null, "date_text": "1816", "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": "2026-05-01 06:51:47.105000"}, {"id": 135076, "accession_number": "1958.12", "share_license_status": "Copyrighted", "tombstone": "The Donkey Driver, 1902. Pablo Picasso (Spanish, 1881\u20131973). Black chalk on brown wove paper; sheet: 26 x 20 cm (10 1/4 x 7 7/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.12. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "The Donkey Driver", "creation_date": "1902", "creation_date_earliest": 1902, "creation_date_latest": 1902, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain, 20th century"], "technique": "black chalk on brown wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - Spanish", "type": "Drawing", "measurements": "Sheet: 26 x 20 cm (10 1/4 x 7 7/8 in.)", "dimensions": {"sheet": {"height": 0.26, "height_inch": 10, "height_inch_fraction": 0.25, "width": 0.2, "width_inch": 7, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed and dated, in brown ink, lower right: Picasso 1902", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 520354, "title": "20th Century Master Drawings", "description": "<i>20th Century Master Drawings</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (November 6, 1963-January 6, 1964); Frederick R. Weisman Art Museum, Minneapolis, MN (February 1-March 15, 1964); Fogg Art Museum/Harvard University, Cambridge, MA (April 6-May 24, 1964).", "opening_date": "1963-11-06T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 442154, "title": "Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)", "description": "<i>Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)</i>. Kunstmuseum Bern, Bern, Switzerland (organizer) (December 6, 1984-February 17, 1985).", "opening_date": "1984-12-06T05:00:00"}, {"id": 442070, "title": "Picasso: Pastelle, Zeichnungen, Aquarelle (Picasso: Pastels, Paintings, Watercolors)", "description": "<i>Picasso: Pastelle, Zeichnungen, Aquarelle (Picasso: Pastels, Paintings, Watercolors)</i>. K\u00fcnsthalle Tubingen, D-72076 T\u00fcbingen, Germany (April 5-June 1, 1986); Kunstsammlung Nordrhein-Westfalen, D\u00fcsseldorf, Germany, Dusseldorf 1, Germany (organizer) (June 13-July 27, 1986).", "opening_date": "1986-04-05T05:00:00"}, {"id": 311433, "title": "Directions in Drawing: 1750-1988", "description": "<i>Directions in Drawing: 1750-1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"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>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007).", "opening_date": "2006-05-27T00:00:00"}, {"id": 222347, "title": "Picasso's Drawings, 1890-1921: Reinventing Tradition ", "description": "<i>Picasso's Drawings, 1890-1921: Reinventing Tradition </i>. National Gallery of Art, Landover, MD (February 5-May 6, 2012).", "opening_date": "2011-10-04T00:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>Picasso</em>. Kunsthaus Z\u00fcrich (September 11 - October 30, 1932).", "opening_date": "1932-09-11T00:00:00"}]}, "provenance": [{"description": "Santiago Laporta, Barcelona", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Galerie Thannhauser, New York)", "citations": [], "footnotes": null, "date": "by 1940-after 1946", "sortorder": 2}, {"description": "(Wildenstein and Co., New York, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": null, "date": "after 1946-before 1958", "sortorder": 3}, {"description": "Leonard C. Hanna, Jr., bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1958", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is one of several by Pablo Picasso to featured donkeys around this time.", "description": "Created during Pablo Picasso's Blue Period, a time when the artist focused on disenfranchised members of society, this drawing depicts a man and woman in what apperas to be Catalan costume. The subject may relate to Picasso's Spanish heritage or his study in Paris of drawings by the elder artist Puvis de Chavannes, who likewise focused on agrarian life. Picasso drew and reworked his composition in black chalk, leaving changes to the image fully evident as he worked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80027983"], "internet_archive": []}, "citations": [{"citation": "Zervos, Christian. <em>Pablo Picasso</em>. Paris: \u00c9ditions Cahiers d'Art, 1932.", "page_number": "Mentioned: p. XLIV, no. 136; Reproduced: pl. 67", "url": ""}, {"citation": "<em>Picasso</em>. Exh. Cat. Z\u00fcrich: Kunsthaus Z\u00fcrich, 1932.", "page_number": "Mentioned: p. 17, no. 255", "url": ""}, {"citation": "Cassou, Jean. <em>Picasso</em>. Translated by Mary Chamot. New York: Hyperion Press, 1940.", "page_number": "Mentioned and reproduced: no. 146", "url": ""}, {"citation": "Pellicer, A. Cirici. <em>Picasso antes de Picasso</em>. Barcelona: Iberia - Joaquin Gil, 1946.", "page_number": "Mentioned and reproduced: pl. 125", "url": ""}, {"citation": "Elgar, Frank and Robert Maillard. <em>Picasso</em>. Translated by Francis Scarfe. New York: Praeger, 1956.", "page_number": "Reproduced: p. 19", "url": ""}, {"citation": "<em>In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: Cleveland Museum of Art, 1958", "page_number": "Mentioned and reproduced: no. 97", "url": ""}, {"citation": "Jardot, Maurice. <em>Pablo Picasso Drawings</em>. New York: Harry N. Abrams, 1959.", "page_number": "Mentioned: p. 153; Reproduced: pl. 3", "url": ""}, {"citation": "Simon, Sidney and Emily Rauh. <em>20th Century Master Drawings</em>. Exh. Cat. New York: Solomon R. Guggenheim Museum, 1963.", "page_number": "Mentioned: no. 99; Reproduced: pl. 1", "url": ""}, {"citation": "Blunt, Anthony and Phoebe Pool. <em>Picasso: The Formative Years, A Study of His Sources</em>. New York: New York Graphic Society, 1963.", "page_number": "Mentioned and reproduced: no. 125", "url": ""}, {"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. 196", "url": "https://archive.org/details/CMAHandbook1966/page/n220"}, {"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. 195", "url": "https://archive.org/details/CMAHandbook1969/page/n219"}, {"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. 241", "url": "https://archive.org/details/CMAHandbook1978/page/n261"}, {"citation": "Palau i Fabre, Josep. <em>Picasso: The Early Years, 1881-1907. </em>Translated by Kenneth Lyons. New York: Rizzoli, 1981.", "page_number": "Mentioned: pp. 319, 539, no. 807; Reproduced: p. 319", "url": ""}, {"citation": "Glaesemer, J\u00fcurgen. <em>Der Junge Picasso: Fr\u00fchwerk und Blaue Periode</em>. Exh. Cat. Bern: Kunstmuseum Bern, 1984.", "page_number": "Mentioned: 325, no. 166; Reproduced: p. 298", "url": ""}, {"citation": "Spies, Werner. <em>Picasso: Pastelle, Zeichnungen, Aquarelle</em>. Exh. Cat. T\u00fcbingen: Kunstehalle T\u00fcbingen, 1986.", "page_number": "Mentioned and reproduced: no. 16", "url": ""}, {"citation": "Galassi, Susan Grace and Marilyn McCully. <em>Picasso's Drawings, 1890-1921: Reinventing Tradition</em>. Exh. Cat. New York: Frick Collection, 2011.", "page_number": "Mentioned: pp. 93-95, no. 13; Reproduced: p. 94", "url": ""}, {"citation": "<em>The Picasso Project: Picasso's Paintings, Watercolors, Drawings and Sculpture: A Comprehensive Illustrated Catalogue, 1885-1973: The Blue Period, 1902-1904, Barcelona and Paris</em>. San Francisco: Alan Wofsy Fine Arts, 2011.", "page_number": "Mentioned and reproduced: p. 31, no. 1902-080", "url": ""}], "catalogue_raisonne": "Zervos I.136; Palau i Fabre: 807; PP 1902-080", "url": "https://clevelandart.org/art/1958.12", "images": {}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135076, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "1902", "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": "2026-05-01 06:49:35.066000"}, {"id": 149396, "accession_number": "1978.51", "share_license_status": "CC0", "tombstone": "The Artist in His Room at the Villa Medici, Rome, 1817. L\u00e9on Cogniet (French, 1794\u20131880). Oil on canvas; framed: 58 x 51 x 7.5 cm (22 13/16 x 20 1/16 x 2 15/16 in.); unframed: 44.5 x 37 cm (17 1/2 x 14 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1978.51", "current_location": null, "title": "The Artist in His Room at the Villa Medici, Rome", "creation_date": "1817", "creation_date_earliest": 1817, "creation_date_latest": 1817, "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: 58 x 51 x 7.5 cm (22 13/16 x 20 1/16 x 2 15/16 in.); Unframed: 44.5 x 37 cm (17 1/2 x 14 9/16 in.)", "dimensions": {"framed": {"height": 0.58, "height_inch": 22, "height_inch_fraction": 0.8125, "width": 0.51, "width_inch": 20, "width_inch_fraction": 0.0625, "depth": 0.075, "depth_inch": 2, "depth_inch_fraction": 0.9375}, "unframed": {"height": 0.445, "height_inch": 17, "height_inch_fraction": 0.5, "width": 0.37, "width_inch": 14, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304286, "title": "Year in Review: 1978", "description": "<i>Year in Review: 1978</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 13-March 18, 1979).", "opening_date": "1979-02-13T05:00:00"}, {"id": 208350, "title": "In the Light of Italy: Corot and Early Plein-air Painting", "description": "<i>In the Light of Italy: Corot and Early Plein-air Painting</i>. National Gallery of Art (May 26-September 2, 1996); The Brooklyn Museum (October 11, 1996-January 12, 1997); Saint Louis Art Museum (February 21-May 18, 1997).", "opening_date": "1996-05-26T00:00:00"}, {"id": 219163, "title": "Paysages d'Italie. Les peintres du plein air 1780-1830", "description": "<i>Paysages d'Italie. Les peintres du plein air 1780-1830</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (April 3-July 9, 2001).", "opening_date": "2001-04-03T00:00:00"}, {"id": 224507, "title": "\"un paese incantato\" Italia dipinta da Thomas Jones a Corot", "description": "<i>\"un paese incantato\" Italia dipinta da Thomas Jones a Corot</i>. Museo Civico di Palazzo Te, Mantua, Italy (September 1-December 9, 2001).", "opening_date": "2001-09-01T00:00:00"}, {"id": 227961, "title": "Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Da Ingres \u00e0 Degas. Les artistes fran\u00e7ais \u00e0 Rome", "description": "<i>Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Da Ingres \u00e0 Degas. Les artistes fran\u00e7ais \u00e0 Rome</i>. Dahesh Museum of Art, New York, NY (September 9-November 9, 2003).", "opening_date": "2003-03-05T00:00:00"}, {"id": 207363, "title": "Rooms with Views: The Open Window in the 19th Century", "description": "<i>Rooms with Views: The Open Window in the 19th Century</i>. The Metropolitan Museum of Art, New York, NY (organizer) (March 28-July 4, 2011).", "opening_date": "2011-03-28T00:00:00"}, {"id": 304986, "title": "Viva Roma!", "description": "<i>Viva Roma!</i>. La Boverie Museum, Li\u00e8ge, Belgium (organizer) (April 24-August 26, 2018).", "opening_date": "2018-04-24T04:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "London, Hazlitt, Gooden &amp; Fox. From Revolution to Second Republic (1978), no. 24 (repr.).", "opening_date": "1978-01-01T00:00:00"}, {"description": "Washington, D.C., National Gallery of Art; Brooklyn Museum; Saint Louis Art Museum. In the Light of Italy: Corot and Early Open-Air Painting (1996-97), no. 59 (repr.).", "opening_date": "1996-01-01T00:00:00"}, {"description": "Paris: Galeries nationales du Grand Palais (4/3/01 - 7/9/01); Mantova, Italy: Palazzo Te (9/1/01 - 12/9/01) \"Paysages d'Italie. Les peintres du plein air (1780-1830), exh. cat. no. 6, pp 14-15.", "opening_date": "2001-04-03T00:00:00"}, {"description": "French Academy in Rome, Villa Medici (3/5/2003 - 6/29/2003): \"Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Da Ingres a Degas: Les artistes francais a Rome\", exh. cat. no. 50, p. 219.", "opening_date": "2003-03-05T00:00:00"}, {"description": "New York, Dahesh Museum of Art (September 3 - November 2, 2003): \"French Artists in Rome: Ingres to Degas, 1803 - 1873\"", "opening_date": "2003-09-03T00:00:00"}]}, "provenance": [{"description": "Hazlitt, Gooden & Fox, London. Purchased by the CMA in 1978.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1817, L\u00e9on Cogniet won the Prix de Rome for history painting, allowing him to live and work in the city for five years. The helmet, shield, and swords seen at left refer to the expectation that Cogniet would produce a history painting each year to send back to Paris for review.", "description": "L\u00e9on Cogniet was one of many artists who traveled from across Europe to Rome during the early 19th century, drawing upon the city\u2019s ancient past and its surrounding landscape for inspiration. In this formally composed scene, the artist stands within his studio, its walls bare and colorless in contrast to the dramatic light cast through his open window.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q19963612"], "internet_archive": ["https://archive.org/details/clevelandart-1978.51-the-artist-in-his-ro"]}, "citations": [{"citation": "Talbot, William S. \"Cogniet and Vernet at the Villa Medici.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 5 (1980): 135-49.", "page_number": "Reproduced: cover, p. 134; Mentioned: p. 135-49", "url": "https://www.jstor.org/stable/25159675"}, {"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. 154-157, Vol. I, no. 51", "url": ""}, {"citation": "Miller, Peter Benson. <em>Studio Systems</em>. New York, NY: American Academy in Rome, 2016.", "page_number": null, "url": null}, {"citation": "E\u0301pistolaire 37 (2011)", "page_number": "Reproduced: Cover", "url": null}, {"citation": "Ozvald, Serenella Rolfi. \"L'artista allo Scrittoio. Un'immagine Controversa.\" <em>Ricerche di Storia dell'arte. </em>125 (2018) 4-16.<em><br></em>", "page_number": "Reproduced: p. 7, fig. 1; p.[97], fig. 1", "url": null}, {"citation": "Miller, Peter Benson. <em>Studio Systems.</em> New York; Rome: American Academy in Rome, 2016. p. 49", "page_number": "Reproduced: P.49, fig. 6", "url": null}, {"citation": "Groom, Gloria Lynn. \"The Empty Room.\" In <em>Van Gogh's Bedrooms</em>. Gloria Lynn Groom, ed., 28-35. Chicago: Art Institute of Chicago, 2016.", "page_number": "Reproduced: P. 30, fig. 1; Mention: P. 29, 35 n. 8", "url": null}, {"citation": "Pomare\u0300de, Vincent. \"The Villa Medici, the Villa Malta, the Darchis Foundation . . .\" In <em>Viva Roma!: Artists and the Trip to Rome. </em>Vincent Pomare\u0300de, et al., 100-113. Ghent: Snoeck Publishers, 2018.", "page_number": "Reproduced: p. 105", "url": null}], "url": "https://clevelandart.org/art/1978.51", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1978.51/1978.51_web.jpg", "width": "740", "height": "900", "filesize": "237544", "filename": "1978.51_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.51/1978.51_print.jpg", "width": "2797", "height": "3400", "filesize": "1939993", "filename": "1978.51_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.51/1978.51_full.tif", "width": "4936", "height": "6000", "filesize": "88879348", "filename": "1978.51_full.tif"}}, "alternate_images": [{"date_created": "2007-07-10T14:11:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.51/1978.51_alt0_web.jpg", "width": "735", "height": "893", "filesize": "378349"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.51/1978.51_alt0_print.jpg", "width": "2797", "height": "3400", "filesize": "5566343"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.51/1978.51_alt0_full.tif", "width": "4936", "height": "6000", "filesize": "88879348"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149396, "creators": [{"id": 1585, "description": "L\u00e9on Cogniet (French, 1794\u20131880)", "extent": null, "qualifier": null, "role": "artist", "biography": "L\u00e9on Cogniet came to painting just as the pictures by Th\u00e9odore G\u00e9ricault (1791-1824) challenged the established neo-classical style and academic hierarchies. Straddling these two worlds, Cogniet experimented with different subjects and composition but generally retained a relatively traditional technique. He entered the \u00c9cole des Beaux-Arts in 1812 and studied with Baron Pierre-Narcisse Gu\u00e9rin (1774-1833), but he was friendly with Delacroix (q.v.), G\u00e9ricault, and other romantics. Aiming for the most esteemed rank of history painter, Cogniet won the Grand Prix de Rome in 1817 (Helen Freed by Castor and Pollux, \u00c9cole Nationale Sup\u00e9rieure des Beaux-Arts, Paris) and made his Salon debut while studying in Rome (Metabus, King of the Volscians, Mus\u00e9e des Beaux-Arts, Chartres). The French state first bought his paintings at the 1824 Salon (Marius on the Ruins of Carthage, Mus\u00e9e des  Augustins, Toulouse), and three years later he was commissioned for a series of the life of St. Stephen for the church of St. Nicolas-des-Champs in Paris (in situ). Around the late 1820s Cogniet became especially enamored of subjects from contemporary British literature, by Sir Walter Scott for example, an interest shared by many French romantic artists. He seems to have been open to different styles and fluctuated between a conventional neoclassicism and more personally inflected romanticism. After 1831 Cogniet became regularly engaged on prestigious public commissions under the regime of Louis-Philippe. He painted Bonaparte's Expedition to Egypt (1833-35), a ceiling in the Louvre palace for the newly created Mus\u00e9e d'Egypte, then several large canvases for the new Mus\u00e9e Historique at Versailles. For these official paintings Cogniet combined his early neoclassical style of clearly organized pictorial space and forms, crisp modeling in light and shade, and smooth surface finish with greater attention to natural-istic details, a looser or more casual composition. The artists adopting this style were called the juste milieu (loosely, \"middle of the road\"), a term first used in the political arena to identify politicians who espoused neither conservative nor radical ideas but those that, rather, benefited the bourgeoisie, the same class that most admired these paintings. In 1843 Cogniet enjoyed a huge success with Tintoretto Painting His Dead Daughter (Mus\u00e9e des Beaux-Arts, Bordeaux), an invented scene of the great Venetian painter at the deathbed of his beloved daughter. In spite of its popularity, Cogniet exhibited only portraits at the following Salons, and his production fell off after the mid-1850s. He received the highest titles given to painters: Academician (1840), Legion of Honor (1846), and professor at the \u00c9cole des Beaux-Arts (1851). \r\nTeaching became an important aspect of Cogniet's later life. Besides the atelier for men that he established by 1830, he was also responsible for another for women, which his sister Marie-Am\u00e9lie directed. He served as drawing instructor at the Lyc\u00e9e Louis-le-Grand from 1831 to 1876, where Degas (q.v.) was his student. He also taught at the \u00c9cole Polytechnique for sixteen years, which may have contributed to his interest in such new technologies as drawing machines and photography that he later integrated into his painting. Nevertheless, after the administrative and curricular reforms of 1863 were passed to reorganize the Acad\u00e9mie and \u00c9cole des Beaux-Arts, Cogniet resigned from his teaching position there in protest. Among his hundreds of pupils were Bonnat (q.v.), Meissonier (q.v.), and Jean-Paul Laurens (1838-1921).", "name_in_original_language": null, "birth_year": "1794", "death_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1817, "date_added_to_oa": null, "date_text": "1817", "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": "2026-05-01 06:50:58.380000"}, {"id": 128286, "accession_number": "1951.277.a", "share_license_status": "CC0", "tombstone": "View of a Castle (recto), 1513. Wolfgang Huber (Austrian, 1490\u20131553). Pen and brown ink; sheet: 13.1 x 21.2 cm (5 3/16 x 8 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 1951.277.a", "current_location": null, "title": "View of a Castle (recto)", "creation_date": "1513", "creation_date_earliest": 1513, "creation_date_latest": 1513, "artists_tags": ["male"], "culture": ["Austria"], "technique": "pen and brown ink", "support_materials": [{"description": "cream(3) laid paper, discolored to gray", "watermarks": []}], "department": "Drawings", "collection": "DR - Austrian", "type": "Drawing", "measurements": "Sheet: 13.1 x 21.2 cm (5 3/16 x 8 3/8 in.)", "dimensions": {"sheet": {"height": 0.131, "height_inch": 5, "height_inch_fraction": 0.1875, "width": 0.212, "width_inch": 8, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "upper center, in brown ink: 1513; lower left, in brown ink: v. h", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300830, "title": "German Drawings", "description": "<i>German Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 11-December 18, 1955).", "opening_date": "1955-11-11T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 301689, "title": "Drawings from the Museum Collection: 15th-17th Centuries", "description": "<i>Drawings from the Museum Collection: 15th-17th Centuries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 18-October 11, 1960).", "opening_date": "1960-05-18T04:00:00"}, {"id": 350002, "title": "Old Master Drawings", "description": "<i>Old Master Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 10-31, 1964).", "opening_date": "1964-03-10T05:00:00"}, {"id": 350269, "title": "Prints and Drawings from the Cleveland Museum of Art Collection", "description": "<i>Prints and Drawings from the Cleveland Museum of Art Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-September 9, 1965).", "opening_date": "1965-05-06T04:00:00"}, {"id": 350752, "title": "Old Master Prints and Drawings", "description": "<i>Old Master Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 29, 1966-February 28, 1967).", "opening_date": "1966-07-29T04:00:00"}, {"id": 351065, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9, 1967-January 1, 1968).", "opening_date": "1967-06-09T04:00:00"}, {"id": 361381, "title": "Prints and Drawings of the Danube School", "description": "<i>Prints and Drawings of the Danube School</i>. Yale University Art Gallery, New Haven, CT (organizer) (October 9-November 16, 1969); Philadelphia Museum of Art, Philadelphia, PA (December 11, 1969-January 25, 1970); Saint Louis Art Museum (February 10-March 24, 1970).", "opening_date": "1969-10-09T04:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 437915, "title": "Love Gardens / Forbidden Fruit", "description": "<i>Love Gardens / Forbidden Fruit</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-October 29, 2023).", "opening_date": "2023-07-02T04:00:00"}], "legacy": []}, "provenance": [{"description": "Arnold Otto Meyer, Hamburg; [his sale, C. G. Boerner, Leipzig, 19-20 March 1914, no. 300]; collection prince of Liechtenstein (according to cma files). Art market, 1930 (according to Halm 1930, 4); [Walter Feilchenfeldt, Zurich].", "citations": [], "footnotes": null, "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This sheet of paper has drawings on both sides as well as a poem, indicating that paper was rarely wasted.", "description": "This drawing depicts a castle in southern Germany in the area around the Danube River known for its wooded and rocky heights and dramatic views. Wolfgang Huber's meandering, pen and ink lines describe the contours of the earth and the lushness of summer foliage in a horizontal layout that focuses on the middle distance with a barely recorded foreground. Huber may have made the drawing during a journey between Feldkirch and Vienna as he traveled along the Danube. In 1513 when this drawing was made, landscape was rarely depicted as a subject in and of itself, but artists in the Danube region such as Huber exhibited a profound sensitivity to nature. A drawing on the reverse of the sheet depicts a cup studded with gems and a poem written in a contemporary hand telling the mythological story of Actaeon's transformation into a stag when he intruded upon the goddess Diana and her nymphs bathing.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79908711"], "internet_archive": ["https://archive.org/details/clevelandart-1951.277.a-view-of-a-castle-rec"]}, "citations": [{"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. 582", "url": "https://archive.org/details/CMAHandbook1958/page/n109"}, {"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. 112", "url": "https://archive.org/details/CMAHandbook1966/page/n136"}, {"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. 112", "url": "https://archive.org/details/CMAHandbook1969/page/n136"}, {"citation": "Talbot, Charles W., and Alan Shestack<em>. Prints and Drawings of the Danube School; An Exhibition of South German and Austrian Graphic Art of 1500 to 1560.</em> New Haven: Printed by the Carl Purington Rollins Printing-Office of the Yale University Press, 1969.", "page_number": "Mentioned and Reproduced: p. 11, p. 16, pp. 76-77, no. 78, pl. 41", "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. 131", "url": "https://archive.org/details/CMAHandbook1978/page/n151"}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: P. 150-51, 292; Reproduced: P. 151, cat. no. 60", "url": null}], "url": "https://clevelandart.org/art/1951.277.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.277.a/1951.277.a_web.jpg", "width": "1263", "height": "801", "filesize": "869390", "filename": "1951.277.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.277.a/1951.277.a_print.jpg", "width": "3400", "height": "2156", "filesize": "6441517", "filename": "1951.277.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.277.a/1951.277.a_full.tif", "width": "6316", "height": "4006", "filesize": "75938620", "filename": "1951.277.a_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128286, "creators": [{"id": 12039, "description": "Wolfgang Huber (Austrian, 1490\u20131553)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1490", "death_year": "1553", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-07-26T00:00:00", "sortable_date": 1513, "date_added_to_oa": null, "date_text": "1513", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.277", "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Harburg Castle", "View of a Castle (Harburg Castle?)"], "is_highlight": false, "updated_at": "2026-05-01 06:49:00.225000"}, {"id": 152765, "accession_number": "1985.56", "share_license_status": "CC0", "tombstone": "The Doge's Palace, Venice, 1826. Richard Parkes Bonington (British, 1802\u20131828). Oil on millboard; framed: 53.5 x 61 x 6 cm (21 1/16 x 24 x 2 3/8 in.); unframed: 35.5 x 42.7 cm (14 x 16 13/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1985.56", "current_location": "203B British Painting and Decorative Arts", "title": "The Doge's Palace, Venice", "creation_date": "1826", "creation_date_earliest": 1826, "creation_date_latest": 1826, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on millboard", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 53.5 x 61 x 6 cm (21 1/16 x 24 x 2 3/8 in.); Unframed: 35.5 x 42.7 cm (14 x 16 13/16 in.)", "dimensions": {"framed": {"height": 0.535, "height_inch": 21, "height_inch_fraction": 0.0625, "width": 0.61, "width_inch": 24, "width_inch_fraction": 0.0, "depth": 0.06, "depth_inch": 2, "depth_inch_fraction": 0.375}, "unframed": {"height": 0.355, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.427, "width_inch": 16, "width_inch_fraction": 0.8125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309910, "title": "The Year in Review for 1985", "description": "<i>The Year in Review for 1985</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 12-April 20, 1986).", "opening_date": "1986-02-12T05:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Sotheby's London, United Kingdom, possibly Bonington Sale, June 29-30,1829, lot 215, sold to Glynn)\n\n.\n\n.\n.\n\n.", "citations": [], "footnotes": null, "date": "possibly 1829", "sortorder": 1}, {"description": "(Sotheby's, London, United Kingdom, February 10, 1838, possibly Mrs. Bonington, the artist's mother, sale, lot 124, to Mawe, bought in).", "citations": [], "footnotes": [], "date": "possibly 1838", "sortorder": 2}, {"description": "(Christie's, London, United Kingdom, possibly William Benoni sale, May 23, 1879, lot 86, sold to Permain. J. Hood (according to label on reverse).", "citations": [], "footnotes": [], "date": "possibly 1879", "sortorder": 3}, {"description": "(Christie's, London, United Kingdom, April 28, 1888, possibly W.A. Turner of Manchester sale, lot 106,  sold to Harari & Johns Ltd.) \n\n.", "citations": [], "footnotes": [], "date": "possibly 1888", "sortorder": 4}, {"description": "(Harari & Johns Ltd., London, United Kingdom, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "-1985", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "At age seventeen, Bonington began teaching precision drawing at the \u00c9cole des Beaux Arts in Paris and he was essential to bringing aspects of the English style to France.", "description": "At the age of 22, Bonington achieved overnight success at the official (state sponsored) Paris exhibition known as Salon. Two years later, in 1826, he journeyed to Venice, a city that had long attracted landscape artists. At first, constant rain greatly depressed Bonington, but suddenly the weather changed and Venice was at its glorious best. Bonington frequently painted outdoors, capturing immediate impressions of Venetian architecture and sunlight. He made this particular study from a boat anchored in the lagoon near the Doge's Palace. The thick swirls of paint, with colors mixed together while still wet, indicates how rapidly the artist worked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475700"], "internet_archive": ["https://archive.org/details/clevelandart-1985.56-the-doge-s-palace-ve"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1985.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 2 (February 1986): 26\u201371.", "page_number": "Reproduced: p. 50, no. 45; Mentioned: p. 64, no. 45", "url": "http://www.jstor.org/stable/25159930"}, {"citation": "Noon, Patrick J. <em>Richard Parkes Bonington--on the Pleasure of Painting</em>. New Haven, CT: Yale Center for British Art, 1991.", "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. 14", "url": null}, {"citation": "Noon, Patrick J. <em>Richard Parkes Bonington: The Complete Paintings</em>. New Haven, CT: Yale University Press, 2008. .", "page_number": "Reproduced: p. 288, fig. 227", "url": null}], "url": "https://clevelandart.org/art/1985.56", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.56/1985.56_web.jpg", "width": "1078", "height": "893", "filesize": "726994", "filename": "1985.56_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.56/1985.56_print.jpg", "width": "3400", "height": "2816", "filesize": "7483199", "filename": "1985.56_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.56/1985.56_full.tif", "width": "4144", "height": "3432", "filesize": "42697596", "filename": "1985.56_full.tif"}}, "alternate_images": [{"date_created": "2011-02-22T20:30:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt0_web.jpg", "width": "1087", "height": "893", "filesize": "718788"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt0_print.jpg", "width": "3400", "height": "2792", "filesize": "7859502"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt0_full.tif", "width": "5731", "height": "4707", "filesize": "80955608"}}, {"date_created": "2011-02-22T20:30:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt1_web.jpg", "width": "1071", "height": "893", "filesize": "724391"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt1_print.jpg", "width": "3400", "height": "2835", "filesize": "8464233"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt1_full.tif", "width": "5636", "height": "4700", "filesize": "79495572"}}, {"date_created": "2011-02-22T20:36:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt2_web.jpg", "width": "1070", "height": "893", "filesize": "723951"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt2_print.jpg", "width": "3400", "height": "2838", "filesize": "8189363"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt2_full.tif", "width": "5939", "height": "4958", "filesize": "88365748"}}, {"date_created": "2007-11-26T00:00:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt3_web.jpg", "width": "1011", "height": "893", "filesize": "693513"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt3_print.jpg", "width": "2839", "height": "2507", "filesize": "4756513"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt3_full.tif", "width": "2839", "height": "2507", "filesize": "21395132"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt4_web.jpg", "width": "1011", "height": "893", "filesize": "715299"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt4_print.jpg", "width": "2839", "height": "2507", "filesize": "4966313"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt4_full.tif", "width": "2839", "height": "2507", "filesize": "21380952"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 152765, "creators": [{"id": 2475, "description": "Richard Parkes Bonington (British, 1802\u20131828)", "extent": null, "qualifier": null, "role": "artist", "biography": "Richard Parkes Bonington was born in Arnold near Nottingham, the son of a portrait painter of indifferent talent and quixotic temperament. In autumn 1817 the family established a lace manufactur-ing business in Calais, where Bonington studied watercolor painting briefly with the Anglo-French artist Louis Francia (1772-1839). Two years later he enrolled in the atelier of Gros (q.v.) but was an irregular student. His disillusionment with Gros lead to a stormy departure in 1822. In the same year he exhibited at the Paris Salon topographical watercolors from the first of his several tours of Normandy. These established his repu-tation as a landscape painter and drafts-man of medieval architecture. However, the group of five marine paintings submitted to the 1824 Salon, for which he was awarded a gold medal, confirmed his preeminence in the French romantic school. Bonington made the first of sev-eral trips to London in 1825, after which he shared a studio with Eug\u00e8ne Delacroix (q.v.) in Paris until his departure for a brief tour of Northern Italy in April 1826. It was Delacroix who persuaded Bonington to expand his interests beyond landscape to include figural subjects. In the final two hectic years of his life, Bonington produced mostly Venetian views and historical and literary illustra-tions, which he exhibited at both the 1827-28 Paris Salon and the 1828 Royal Academy exhibitions. He died in London from tuberculosis in September 1828. Despite the brevity of his career, Bonington's protean originality and dazzling virtuoso style inspired a host of French and British imitators, while his relationships with Delacroix and the landscape painters Eug\u00e8ne Isabey (1803-1886) and Paul Huet (1803-1869) would be of cardinal importance to the subsequent development of French painting.", "name_in_original_language": null, "birth_year": "1802", "death_year": "1828", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-05-29T00:00:00", "sortable_date": 1826, "date_added_to_oa": null, "date_text": "1826", "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": "2026-05-01 06:51:19.415000"}, {"id": 143462, "accession_number": "1967.36", "share_license_status": "CC0", "tombstone": "Ink Flowers (\u58a8\u82b1\u5716), 1361. Zhao Zhong (Chinese, second half of the 1300s). Handscroll; ink on paper; overall: 31.8 x 153.2 cm (12 1/2 x 60 5/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1967.36", "current_location": null, "title": "Ink Flowers", "title_in_original_language": "\u58a8\u82b1\u5716", "creation_date": "1361", "creation_date_earliest": 1361, "creation_date_latest": 1361, "artists_tags": ["male"], "culture": ["China, Yuan dynasty (1271-1368)"], "technique": "Handscroll; ink on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Handscroll", "type": "Painting", "measurements": "Overall: 31.8 x 153.2 cm (12 1/2 x 60 5/16 in.)", "dimensions": {"overall": {"height": 0.318, "height_inch": 12, "height_inch_fraction": 0.5, "width": 1.532, "width_inch": 60, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u5bf6\u5e36\u540c\u5fc3\u7d50\uff0c\u9999\u7f85\u5408\u6b61\u6247\u3002/ \n\u7e61\u4f5c\u9326\u9d1b\u9d26\uff0c\u96d9\u96d9\u70ba\u541b\u737b\u3002/ \n\u8594\u8587\u9732\u7051\u718f\u7c60\u8863\uff0c\u99a8\u9999\u5949\u541b\u541b\u52ff\u9055\u3002 \n\n\u539f\u521d\u5e76\u984c\u3002 \n[\u5370] \u8d99\u8877\u539f\u521d\u756b\u8a18", "inscription_translation": "Artist's first poem: \n\nThe precious belt, the love knot;/ \nThe scented silk and the round fan for the happy union./ \nMandarin duck embroidery in the silk brocade,/ \nIn pairs are they dedicated to you./ \nI splash the rose dews to the incense brazier,/ \nThe fragrance of flowers, I offer you./ \nMay you not violate the vow! \n\nInscribed by Yuanchu. \nSeal: \u201cZhao Zhong Yuanchu huaji\u201d", "inscription_remark": null, "sortorder": null}, {"inscription": "\u7fe0\u8882\u7d20\u7f85\u97c8\uff0c\u7389\u81fa\u9ec3\u91d1\u76c3\u3002\u6d69\u6b4c\u6e21\u5f31\u6c34\u3002\u5929\u98a8\u5377\u6d77\u4e09\u5c71\u958b\uff0c\u9ebb\u59d1\u65b9\u5e73\u70ba\u62db\u98f2\uff0c\u86df\u5bae\u737b\u821e\u9280\u6fe4\u5806\u3002 \n\n\u539f\u521d\u5e76\u984c\u3002 \n[\u5370] \u96f2\u6797\u6e05\u8da3\u3001[\u5370] \u8d99\u8877\u539f\u521d\u756b\u8a18\u3002", "inscription_translation": "Artist's second poem: \n\nThe green long sleeves with the white silk socks;/ \nOn the jade terrace is the golden cup./ \nSinging the grand song, she crosses the calm river./ \nThe heavenly winds blow and roll up the sea,/ \nOpening the Three Mountains./ \nMagu and Fangping summon the drinks./ \nThe Dragon Palace offers the dance,/ \nPiling up silver waves in the sea. \n\nInscribed by Yuanchu. \nTwo seals: \u201cYunlin qingqu,\u201d \u201cZhao Zhong Yuanchu huaji.\u201d", "inscription_remark": null, "sortorder": null}, {"inscription": "\u53f3\u7528\u6e6f\u53d4\u96c5\u6176\u5143\u4e2d\u6240\u5beb\u58a8\u82b1\u6cd5\u4f5c\u6b64\u5377\uff0c\u53c8\u6548\u674e\u9577\u5409\u9ad4\u8ce6\u8a69\u4ee5\u984c\u4e4b\u3002\u8a69\u8207\u756b\u96d6\u672a\u5de5\uff0c\u8981\u7686\u51fa\u65bc\u53e4\u4eba\u4e4b\u9918\uff0c\u8b6c\u7336\u6b32\u6210\u65b9\u5713\u800c\u5fc5\u6c42\u5176\u898f\u77e9\u4e4b\u7528\u4e5f\uff0c\u8b58\u8005\u6bcb\u8a9a\u7109\uff01\u81f3\u6b63\u8f9b\u4e11\u516b\u6708\u671b\u65e5\uff0c\u6771\u5433\u91ce\u4eba\u8d99\u8877\u539f\u521d\u8b39\u8b58\u3002 \n\n[\u5370] \u8d99\u539f\u521d\u3001[\u5370] \u50b3\u4e16\u6e05\u73a9", "inscription_translation": "Artist's colophon:  \n\nI did this scroll, using the ink-flower method of Tang Shuya [i.e. Tang Zhengzhong \u6e6f\u6b63\u4ef2 (mid 12th\u2013early 13th century)] of the Qingyuan period. I also composed poems in the style of Li Changji [i.e. Li He \u674e\u8cc0 (790\u2013816)] and inscribed herewith. My poems and painting may not be very good; they are nonetheless derived from the heritage of the ancients. It is just as if one wants to draw a square and a circle, one must first know how to use the ruler and the compass. May the connoisseur kindly refrain from laughing at them. The fifteenth day of the eighth month in 1361. Respectfully inscribed by Dong Wu Ye Ren [a rustic of the Eastern Wu], Zhao Zhong, Yuanchu. \n\nTwo seals: \u201cZhao Yuanchu,\u201d \u201cChuanshi qingwan\u201d", "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 301272, "title": "Chinese Art Under the Mongols: The Yuan Dynasty (1279\u20131368)", "description": "<i>Chinese Art Under the Mongols: The Yuan Dynasty (1279\u20131368)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 2-November 24, 1968).", "opening_date": "1968-10-02T04:00:00"}, {"id": 301895, "title": "The Colors of Ink", "description": "<i>The Colors of Ink</i>. Asia House Galleries (January 10-March 3, 1974); The Cleveland Museum of Art, Cleveland, OH (organizer) (April 9-May 12, 1974).", "opening_date": "1974-01-10T04:00:00"}, {"id": 304517, "title": "Eight Dynasties of Chinese Painting", "description": "<i>Eight Dynasties of Chinese Painting</i>. The Nelson-Atkins Museum of Art (November 7, 1980-January 4, 1981); The Cleveland Museum of Art (February 11-March 29, 1981); Tokyo National Museum (October 4-November 17, 1982).", "opening_date": "1981-02-11T05:00:00"}, {"id": 231365, "title": "Masterpieces of Early Chinese Painting and Calligraphy in American Collections", "description": "<i>Masterpieces of Early Chinese Painting and Calligraphy in American Collections</i>. Shanghai Museum, Shanghai, China (organizer) (November 1, 2012-January 3, 2013).", "opening_date": "2012-11-01T00:00:00"}], "legacy": [{"description": "<em>To-So-Gen-Min, II</em>. Tokyo Imperial Museum, Tokyo, Japan (November 24-December 16, 1928).", "opening_date": "1928-11-24T00:00:00"}, {"description": "<em>Main Asian Rotation (Gallery 120)</em>. The Cleveland Museum of Art, Cleveland, OH (March 11, 2003-July 13, 2004).", "opening_date": "2003-03-11T00:00:00"}]}, "provenance": [{"description": "Li Guochao \u674e\u570b\u8d85 [20th century]", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Cheng Qi \u7a0b\u7426  [1911\u20131988], to his son, Stephen O. K. Chen", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Stephen O. K. Chen [20th century], New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131967", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1967\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This handscroll is a very rare example of ink flowers in the linear <em>baimiao</em> style of the fourteenth century.", "description": "Zhao Zhong's flowers, each paired with a poem, echo the fine-style colored flowers of the academic tradition, but instead he used only ink. Fine lines define the contours of each plant, as well as the veins within each petal and leaf. Careful ink washes give subtle modeling to the forms. <br><br>The combination of lily, narcissus, and peony is unusual as the three belong to no known seasonal or symbolic system popular in the fourteenth century. Zhao\u2019s medical training may have influenced the selection. Powdered lilies, for example, were prescribed to dispel grief, while the bark of tree peony roots was used as a treatment for various blood disorders.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469875"], "internet_archive": ["https://archive.org/details/clevelandart-1967.36-ink-flowers"]}, "citations": [{"citation": "<em>To\u0304 So\u0304 Gen Min meigaten-go\u0304 [</em>\u5510\u5b8b\u5143\u660e\u540d\u753b\u5c55\u53f7]. To\u0304kyo\u0304: To\u0304kyo\u0304 Asahi Shinbun Hakko\u0304jo, 1928.", "page_number": "p. 42", "url": null}, {"citation": "Xie, Zhiliu \u8c22\u7a1a\u67f3. <em>Tang wu dai song yuan ming ji </em>\u5510\u4e94\u4ee3\u5b8b\u5143\u540d\u8ff9. Shanghai: Gu dian wen xue chu ban she \u53e4\u5178\u6587\u5b66\u51fa\u7248\u793e, 1957.", "page_number": "Reproduced: no. 35, pl. 107", "url": null}, {"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 54, no. 10, 1967, pp. 302\u2013346.", "page_number": "Mentioned: p. 346, no. 157; Reproduced: p. 334", "url": "https://www.jstor.org/stable/25152183"}, {"citation": "Lee, Sherman E., and Wai-kam Ho. <em>Chinese Art Under the Mongols: The Yu\u0308an Dynasty, 1279-1368</em>. Cleveland, OH: Cleveland Museum of Art; [distributed by the Press of Case Western Reserve University], 1968.", "page_number": "cat. no. 183", "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. 262", "url": "https://archive.org/details/CMAHandbook1969/page/n286"}, {"citation": "Lee, Sherman. \u201cTo See Big within Small: Hsiao-Chung-Chien-Ta.\u201d <em>The Burlington Magazine</em> 114, no. 830 (May 1972): 312+314-323.", "page_number": "Reproduced:  p. 318, fig. 58", "url": "https://www.jstor.org/stable/876940"}, {"citation": "Lee, Sherman Emery, and James Robinson. <em>The Colors of Ink: Chinese Paintings and Related Ceramics from the Cleveland Museum of Art</em>. New York: Asia Society; distributed by New York Graphic Society, 1974.", "page_number": "Reproduced: cat. no. 20, p. 113, pp. 62-63", "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. 346", "url": "https://archive.org/details/CMAHandbook1978/page/n366"}, {"citation": "Ho, Wai-kam, Sherman E. Lee, Laurence Sickman, and Marc F. Wilson. <em>Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, in cooperation with Indiana University Press, 1980.", "page_number": "Reproduced: cat. no. 72, pp. 91-92", "url": null}, {"citation": "Cunningham, Michael R., Stanislaw J. Czuma, Anne E. Wardwell, and J. Keith Wilson. <em>Masterworks of Asian Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1998.", "page_number": "Reproduced: pp. 78-79", "url": null}, {"citation": "Shanghai bo wu guan. <em>Han mo hui cui: xi du Meiguo cang Zhongguo Wu dai Song Yuan shu hua zhen pin</em> [\u7ff0\u58a8\u8588\u8403: \u7ec6\u8bfb\u7f8e\u56fd\u85cf\u4e2d\u56fd\u4e94\u4ee3\u5b8b\u5143\u4e66\u753b\u73cd\u54c1 = Masterpieces of early Chinese painting and calligraphy in American collections]. Beijing: Beijing da xue chu ban she, 2012.", "page_number": "Reproduced: cat no. 52, pp. 483-491.", "url": null}, {"citation": "Chou, Ju-hsi and Anita Chung. <em>Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2015.", "page_number": "Mentioned and Reproduced: pp. 154\u2013156", "url": null}, {"citation": "Xie, Zhiliu \u8c22\u7a1a\u67f3. <em>Tang Wu dai Song Yuan ming ji </em>\u5510\u4e94\u4ee3\u5b8b\u5143\u540d\u8ff9. Shanghai: Shanghai ren min chu ban she, 2018.", "page_number": "Reproduced: pp. 209\u2013211", "url": null}], "url": "https://clevelandart.org/art/1967.36", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.36/1967.36_web.jpg", "width": "1263", "height": "268", "filesize": "206380", "filename": "1967.36_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.36/1967.36_print.jpg", "width": "2048", "height": "707", "filesize": "100371", "filename": "1967.36_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.36/1967.36_full.tif", "width": "2048", "height": "707", "filesize": "111596", "filename": "1967.36_full.tif"}}, "alternate_images": [{"date_created": "2010-04-28T13:40:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.36/1967.36_alt0_web.jpg", "width": "1263", "height": "762", "filesize": "743124"}, "print": {"url": 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"width": "1193", "height": "893", "filesize": "507967"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.36/1967.36_alt24_print.jpg", "width": "3400", "height": "2545", "filesize": "4989232"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.36/1967.36_alt24_full.tif", "width": "6668", "height": "4992", "filesize": "99885852"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143462, "creators": [{"id": 11254, "description": "Zhao Zhong (Chinese, second half of the 1300s)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u8d99\u8877", "birth_year": "1345", "death_year": "1405", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1361, "date_added_to_oa": null, "date_text": "1361", "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": "2026-05-01 06:50:26.113000"}, {"id": 81391, "accession_number": "2020.109", "share_license_status": "CC0", "tombstone": "Drying the Linen, or Moonrise at the Priory, 1894. Maurice Denis (French, 1870\u20131943). Oil on canvas glued to cardboard; unframed: 34.9 x 31.4 x 0.6 cm (13 3/4 x 12 3/8 x 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.109", "current_location": null, "title": "Drying the Linen, or Moonrise at the Priory", "creation_date": "1894", "creation_date_earliest": 1894, "creation_date_latest": 1894, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "oil on canvas glued to cardboard", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 34.9 x 31.4 x 0.6 cm (13 3/4 x 12 3/8 x 1/4 in.)", "dimensions": {"unframed": {"height": 0.349, "height_inch": 13, "height_inch_fraction": 0.75, "width": 0.314, "width_inch": 12, "width_inch_fraction": 0.375, "depth": 0.006, "depth_inch": 0, "depth_inch_fraction": 0.25}, "framed": {"height": 0.484, "height_inch": 19, "height_inch_fraction": 0.0625, "width": 0.448, "width_inch": 17, "width_inch_fraction": 0.625, "depth": 0.041, "depth_inch": 1, "depth_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated lower left: MAVD 94, Signed lower right: MAVD", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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"}, {"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"}], "legacy": [{"description": "<em>9\u00e8 expositi</em>on.Le Barc de Boutteville, Paris, France (1895).", "opening_date": null}, {"description": "<em>La Libre Esth\u00e9tique</em>. Brussels,Belgium (1896).", "opening_date": null}, {"description": "<em>R\u00e9trospective Maurice Denis Union Centrale des Arts d\u00e9coratifs 1888-1924</em>. Pavillon de Marsan, Paris, France (1924).", "opening_date": "1924-01-01T00:00:00"}, {"description": "Galerie Louis Carr\u00e9, Paris, France (1941).", "opening_date": "1941-01-01T00:00:00"}, {"description": "<em>Maurice Denis.</em> Mus\u00e9e d' Art Moderne, Paris, France (1945).", "opening_date": "1945-01-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Mus\u00e9e des Beaux-Arts, Lyon, France (September 29-December 18, 1994); Wallraf-Richartz Museum, Cologne, Germany (January 10-March 25, 1995); Walker Art Gallery, Liverpool, United Kingdom (April 21-June 18, 1995); Van Gogh Museum, Amsterdam, Netherlands", "opening_date": "1994-09-29T00:00:00"}, {"description": "(June 22-September 17, 1995).", "opening_date": "1995-06-22T00:00:00"}, {"description": "<em>Maurice Denis</em>. Mus\u00e9e d'Orsay, Paris, France (October 31, 2006-January 21, 2007); Mus\u00e9e des Beaux-Arts de Montr\u00e9al, Montreal, Quebec (February 22-May 20, 2007).", "opening_date": "2007-02-22T00:00:00"}]}, "provenance": [{"description": "Pierre Gu\u00e9guen [1889-1965] Paris, France, by gift from the artist", "citations": [], "footnotes": ["<div><!--block-->[1] According to <em>Maurice Denis, 1870-1943</em> (Paris: Re\u0301union des Muse\u0301es Nationaux, 1994), p. 182, cat. no. 56, Gu\u00e9guen received this painting as a gift from the artist while it was exhibited at the Galerie Carr\u00e9 \u2013 CDV no. 1640. It remained in Gu\u00e9guen\u2019s collection until at least 1945.</div>"], "date": "1941\u2013at least 1945", "sortorder": 1}, {"description": "Claude R. Cueto, Paris, France", "citations": [], "footnotes": [], "date": "after 1945\u20131987", "sortorder": 2}, {"description": "Claude R. Cueto, December 22, 1987, sold to the Sam Josefowitz Family", "citations": [], "footnotes": null, "date": "1987", "sortorder": 3}, {"description": "The Sam Josefowitz Family, New York, NY, April 2010, sold to Nancy F. and Joseph P. Keithley", "citations": [], "footnotes": ["<div><!--block-->[2] According to documents in the curatorial file.</div>"], "date": "1987\u20132010", "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2010\u20132020", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Denis began creating religious art in 1894, the year this painting was completed. A priory, as described in the title, is a religious building where monks and nuns live under the leadership of a prior.", "description": "This painting depicts the enclosed backyard garden of a former priory\u2014a religious building where monks and nuns live under the leadership of a prior\u2014that Maurice Denis purchased in 1914. He transformed the building into a home for his large family and lived there for the last 30 years of his life. A woman dressed in black hangs linens to dry, so that\u2014according to custom\u2014they will be bleached by moonlight. The full moon casts a golden glow over the entire nighttime scene.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480839"], "internet_archive": ["https://archive.org/details/clevelandart-2020.109-drying-the-linen-or"]}, "citations": [{"citation": "<em>Maurice Denis, 1870-1943: Lyon, Muse\u0301e Des Beaux-Arts, 29 September-18 December 1994 : Cologne, Wallraf-Richarts Museum, 22 January-2 April 1995 : Liverpool, Walker Art Gallery, 21 April-18 June 1995 : Amsterdam, Van Gogh Museum, 7 July-17 September 1995.</em> Ghent: Snoeck-Ducaju &amp; Zoon, 1994.", "page_number": "Mentioned and reproduced: p. 182, no.56", "url": null}, {"citation": "Heilbrun, Franc\u0327oise, Saskia Ooms, and Nathalie Bondil. <em>Maurice Denis.</em> Paris: Muse\u0301e d'Orsay, 2006.", "page_number": "Mentioned and Reproduced: P. 125-126, no. 11", "url": null}, {"citation": "Sanchez, Pierre, and Dominique Lobstein. <em>Les Expositions de la Galerie Le Barc de Boutteville (1891-1899) et du Salon des Cent (1894-1903): Re\u0301pertoire des Artistes et de Leurs Oeuvres.</em> 2012.", "page_number": "Mentioned: P. 235, no. 37", "url": ""}, {"citation": "Brown, Heather Lemonedes. \u201cIn the Garden.\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, 194-217. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 201; Reproduced: P. 214, no. 143", "url": ""}, {"citation": "Stahl, Fabienne. \"Maurice Denis.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 68-73. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 68-73; Mentioned: p. 261-263", "url": ""}], "url": "https://clevelandart.org/art/2020.109", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.109/2020.109_web.jpg", "width": "790", "height": "900", "filesize": "395175", "filename": "2020.109_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.109/2020.109_print.jpg", "width": "2983", "height": "3400", "filesize": "4686902", "filename": "2020.109_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.109/2020.109_full.tif", "width": "6749", "height": "7693", "filesize": "155787692", "filename": "2020.109_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 81391, "creators": [{"id": 22965, "description": "Maurice Denis (French, 1870\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1894, "date_added_to_oa": null, "date_text": "1894", "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": ["Lever de lune au Prieur"], "is_highlight": false, "updated_at": "2026-05-01 06:45:30.513000"}, {"id": 130712, "accession_number": "1953.429", "share_license_status": "Copyrighted", "tombstone": "Study No. 1 for: Church Bells Ringing, Rainy Winter Night, 1917. Charles Burchfield (American, 1893\u20131967). Gray/black wash, pen and black ink, and black and color crayons, with graphite and watercolor; sheet: 36.8 x 21.2 cm (14 1/2 x 8 3/8 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1953.429. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Study No. 1 for: Church Bells Ringing, Rainy Winter Night", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "gray/black wash, pen and black ink, and black and color crayons, with graphite and watercolor", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 36.8 x 21.2 cm (14 1/2 x 8 3/8 in.)", "dimensions": {"sheet": {"height": 0.368, "height_inch": 14, "height_inch_fraction": 0.5, "width": 0.212, "width_inch": 8, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 338564, "title": "An American Visionary: Watercolors and Drawings of Charles E. Burchfield", "description": "<i>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</i>. Currier Museum of Art; Berkshire Museum; Boston Athenaeum (March 20-May 16, 1986).", "opening_date": "1986-03-20T05:00:00"}, {"id": 227084, "title": "Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]", "description": "<i>Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]</i>. Mus\u00e9e des Beaux-Arts de Rennes, Rennes, France (January 17-March 31, 2002).", "opening_date": "2001-10-05T00:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Barely visible, two figures look out the window of the house on the left, standing near a Christmas tree that symbolized Burchfield's favorite holiday.", "description": "Burchfield drastically altered the church spire in this study for his 1917 watercolor <em>Church Bells Ringing, Rainy Winter Night</em>. Here, the tower takes on a wider, more open appearance than in the final drawing. The artist wrote in his private journal for December 1917 that he \u201cwandered between the Baptist and Presbyterian church to hear the bells ring. I ran back to one too late\u2014the other I arrived at in time to hear the last ponderous beats\u2014the whole tower seemed to vibrate with a dull roar afterwards, dying slowly with a growl.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780804"], "internet_archive": []}, "citations": [{"citation": "De Grazia, Diana. \"The Evolution of a Collection: Drawings in Cleveland.\" <em>Master Drawings </em>38, no. 3 (Autumn 2000): 249-260.", "page_number": "Mentioned: p. 258; Reproduced: p. 257", "url": null}, {"citation": "Prasse, Leona E. \"An Exhibition of the Drawings of Charles E. Burchfield.\" <em>Bulletin of the Cleveland Museum of Art</em> (November 1953): 203.", "page_number": "Mentioned: p. 203", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 30; Reproduced: plate I", "url": null}, {"citation": "Townsend, J. Benjamin. <em>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</em>. Exh. Cat. Boston: Athen\u00e6um, 1986.", "page_number": "Mentioned: no. 50", "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 309", "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. 613", "url": "https://archive.org/details/CMAHandbook1958/page/n114"}, {"citation": "Chassey, E\u0301ric de. <em>Made in USA l'art ame\u0301ricain, 1908-1947 : [exposition] Bordeaux, muse\u0301e des Beaux-Arts, 10 octobre-31 de\u0301cembre 2001, Rennes, muse\u0301e des Beaux-Arts, 18 janvier-31 mars 2002, Montpellier, muse\u0301e Fabre, 12 avril-23 juin 2001 [i.e. 2002]</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Reproduced: p. 165", "url": null}, {"citation": "Robinson, William H., Kathleen McKeever, \"And All That Jazz\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 44 no. 05, May 2004", "page_number": "Mentioned & reproduced: 4-5", "url": "https://archive.org/details/CMAMM2004-05/page/n3/"}], "url": "https://clevelandart.org/art/1953.429", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130712, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-11-05T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-05-01 06:49:14.054000"}, {"id": 141921, "accession_number": "1965.461", "share_license_status": "Copyrighted", "tombstone": "The Sunflower Arch, 1917. Charles Burchfield (American, 1893\u20131967). Black crayon, colored crayons, and indelible pencil, with graphite on wove paper, lined. The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1965.461. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "The Sunflower Arch", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "Black crayon, colored crayons, and indelible pencil, with graphite on wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {"sheet": {"height": 0.505, "height_inch": 19, "height_inch_fraction": 0.875, "width": 0.355, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 351228, "title": "Mr. and Mrs. Charles G. Prasse Collection", "description": "<i>Mr. and Mrs. Charles G. Prasse Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 228): February 22, 2010 - May 17, 2010.", "opening_date": "2010-02-22T00:00:00"}, {"description": "<em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Museum of Art, Munson-Williams-Proctor Institute, 1970 (April 9 \u2013 May 31, 1970).", "opening_date": "1970-05-31T00:00:00"}]}, "provenance": [{"description": "Leona E. Prasse [1897-1985], gift to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "-1965", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1965-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield especially liked drawing dying sunflowers because of their anthropomorphic forms.", "description": "At the time he made this drawing, Burchfield had begun to develop a personal symbolic language, which he called \u201cConventions for Abstract Thoughts.\u201d Using simple forms, such as the arched shape of the flowers seen here, he aimed to communicate universal emotions\u2014in this case, \u201cMute Sorrow.\u201d Burchfield saw a connection between this mood and sunflowers, which were among his favorite subjects. He often depicted them anthropomorphically, suggesting either open eyes or, as here, slumped human forms\u2014as he described, \u201cgiv[ing] a sense of pre-autumnal melancholy in early September.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781088"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1953.", "page_number": "Mentioned: no. 24; Reproduced: plate V", "url": null}, {"citation": "Bauer, John I. H. <em>Charles Burchfield. </em>Exh. Cat. New York: Whitney Museum, 1956.", "page_number": "Mentioned: no. 99", "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. 191", "url": "https://archive.org/details/CMAHandbook1966/page/n215"}, {"citation": "Burchfield, Charles E., and Edith H. Jones. <em>The Drawings of Charles Burchfield</em>. New York: Frederic A. Praeger, 1968.", "page_number": "Mentioned: p. 13; Reproduced: plate 4", "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. 191", "url": "https://archive.org/details/CMAHandbook1969/page/n215"}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 313", "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. 237", "url": "https://archive.org/details/CMAHandbook1978/page/n257"}, {"citation": "Thorson, Victoria. <em>Great Drawings of All Times: The Twentieth Century</em>, vol. II. Redding, CT: Talisman, 1979.", "page_number": "Reproduced: fig. 342", "url": null}], "url": "https://clevelandart.org/art/1965.461", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141921, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-11-06T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-05-01 06:50:18.536000"}, {"id": 162295, "accession_number": "2002.3", "share_license_status": "CC0", "tombstone": "Oedipus at Colonus, 1798. Fulchran Jean Harriet (French, 1778\u20131805). Oil on canvas; framed: 187.5 x 164.5 x 8.5 cm (73 13/16 x 64 3/4 x 3 3/8 in.); unframed: 157 x 134 cm (61 13/16 x 52 3/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2002.3", "current_location": null, "title": "Oedipus at Colonus", "creation_date": "1798", "creation_date_earliest": 1798, "creation_date_latest": 1798, "artists_tags": ["male"], "culture": ["France, 18th century"], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - French 18th Century", "type": "Painting", "measurements": "Framed: 187.5 x 164.5 x 8.5 cm (73 13/16 x 64 3/4 x 3 3/8 in.); Unframed: 157 x 134 cm (61 13/16 x 52 3/4 in.)", "dimensions": {"framed": {"height": 1.875, "height_inch": 73, "height_inch_fraction": 0.8125, "width": 1.645, "width_inch": 64, "width_inch_fraction": 0.75, "depth": 0.085, "depth_inch": 3, "depth_inch_fraction": 0.375}, "unframed": {"height": 1.57, "height_inch": 61, "height_inch_fraction": 0.8125, "width": 1.34, "width_inch": 52, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on reverse of stretcher: white sticker \"57/78\", \r\nchene label; on obverse: lower right \"harriet fcit an6\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. The Cleveland Museum of Art, Cleveland, OH (organizer).", "opening_date": "2019-06-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "2002-", "sortorder": 1}, {"description": "Foucart collection, Paris, sold to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->It can reasonably be assumed that it was Foucart who purchased this painting on the Paris art market in 1966, although the <em>de David \u00e0 Delacroix</em> exhibition catalogue does not explicitly state that it was the present owner - whom we know from James Rubin's 1973 article to be Foucart - who purchased it in 1966. &nbsp;</div>"], "date": "Probably 1966 - 2002", "sortorder": 2}, {"description": "(Art market, Paris)", "citations": [], "footnotes": ["<div><!--block-->The 1974-1975 exhibition <em>de David \u00e0 Delacroix</em>, held at the Grand Palais, notes that the painting had been purchased on the art market in Paris in 1966.</div>"], "date": "Until 1966", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fulchran Jean Harriet died young at age 29, and less than 10 of his works survive today.", "description": "The ancient mythical Greek king Oedipus fulfilled his fate by unknowingly killing his father and marrying his mother. He subsequently blinded himself and was exiled. Here, Oedipus reprimands himself, while protecting his daughter Antigone. Oedipus became popular in France just after the French Revolution, since the subject addressed the return of exiles. The ancient Greek writer Sophocles provided the best-known version of the tragedy, but an interpretation that played in Paris in 1797 inspired Harriet\u2019s work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478392"], "internet_archive": ["https://archive.org/details/clevelandart-2002.3-oedipus-at-colonus"]}, "citations": [{"citation": "Rubin, James H. \u201cOedipus, Antigone and Exiles in Post-Revolutionary French Painting.\u201d <em>Art Quarterly</em> 36 (Fall 1973): 141\u201371.", "page_number": null, "url": null}, {"citation": "James H. Rubin, email to Victoria Sears Goldman, Jan. 28, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Grand Palais. <em>De David \u00e0 Delacroix: la peinture fran\u00e7aise de 1774 \u00e0 1830</em>. Paris: Editions des Mus\u00e9es Nationaux, 1974.", "page_number": null, "url": null}, {"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 6 (July/August 2005): 6-17.", "page_number": "Mentioned and reproduced: p. 13", "url": "https://archive.org/details/CMAMM2005-06/page/12/mode/2up"}, {"citation": "Korchane, Mehdi. <em>Pierre Gue\u0301rin, 1774-1833</em>. Paris: \u00c9ditions Mare &amp; Martin, 2018.", "page_number": "Reproduced; p. 66, #44", "url": null}, {"citation": "Korchane, Mehdi. <em>Figures de l'exil sous la Re\u0301volution: de Be\u0301lisaire a\u0300 Marcus Sextus</em>. Vizille: Mus\u00e9e de la R\u00e9volution fran\u00e7aise; Grenoble: D\u00e9partement de l\u2019Is\u00e8re, Patrimoine en Is\u00e8re, 2016. p. 64-65", "page_number": "Reproduced: p. 64 Mentioned: p. 65", "url": null}, {"citation": "Milesi, Silvana. Il padre nell'arte e nel tempo. Bergamo : Corponove, 2020, 112.", "page_number": "Reproduced and mentioned: p. 112.", "url": ""}], "url": "https://clevelandart.org/art/2002.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2002.3/2002.3_web.jpg", "width": "765", "height": "893", "filesize": "461422", "filename": "2002.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2002.3/2002.3_print.jpg", "width": "2913", "height": "3400", "filesize": "7034378", "filename": "2002.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2002.3/2002.3_full.tif", "width": "4579", "height": "5345", "filesize": "73458536", "filename": "2002.3_full.tif"}}, "alternate_images": [{"date_created": "2009-05-18T19:09:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.3/2002.3_alt0_web.jpg", "width": "776", "height": "893", "filesize": "487298"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.3/2002.3_alt0_print.jpg", "width": "2954", "height": "3400", "filesize": "7221809"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.3/2002.3_alt0_full.tif", "width": "4814", "height": "5541", "filesize": "80057616"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162295, "creators": [{"id": 42162, "description": "Fulchran Jean Harriet (French, 1778\u20131805)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1778", "death_year": "1805", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-03-04T00:00:00", "sortable_date": 1798, "date_added_to_oa": null, "date_text": "1798", "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": "2026-05-01 06:52:23.838000"}, {"id": 146824, "accession_number": "1972.244", "share_license_status": "Copyrighted", "tombstone": "\"Hot Pigs,\" Otis Steel Co., Cleveland, 1928. Margaret Bourke-White (American, 1904\u20131971). Gelatin silver print; image: 34.1 x 25.8 cm (13 7/16 x 10 3/16 in.); matted: 61 x 50.8 cm (24 x 20 in.). The Cleveland Museum of Art, Gift of Mrs. Albert A. Levin, 1972.244. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "\"Hot Pigs,\" Otis Steel Co., Cleveland", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 34.1 x 25.8 cm (13 7/16 x 10 3/16 in.); Matted: 61 x 50.8 cm (24 x 20 in.)", "dimensions": {"image": {"height": 0.341, "height_inch": 13, "height_inch_fraction": 0.4375, "width": 0.258, "width_inch": 10, "width_inch_fraction": 0.1875}, "matted": {"height": 0.61, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Written in pencil on recto of mount: \"#4\"; \"Bourke-White [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 443401, "title": "130 Years of Ohio Photography", "description": "<i>130 Years of Ohio Photography</i>. Columbus Museum of Art, Columbus, OH (organizer) (December 1, 1978-January 3, 1979).", "opening_date": "1978-12-01T05:00:00"}, {"id": 309884, "title": "Urban Vicissitudes", "description": "<i>Urban Vicissitudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-September 29, 1985).", "opening_date": "1985-07-02T04:00:00"}, {"id": 310296, "title": "Margaret Bourke-White: A Retrospective", "description": "<i>Margaret Bourke-White: A Retrospective</i>. International Center of Photography, New York, NY (organizer) (March 4-May 1, 1988); The Detroit Institute of Arts, Detroit, MI (May 17-July 10, 1988); The Nelson-Atkins Museum of Art, Kansas City, MO (August 5-September 25, 1988); Minnesota Museum of American Art, Saint Paul, MN (October 16, 1988-January 1, 1989); Wadsworth Atheneum Museum of Art, Hartford, CT (January 22-March 19, 1989); California Museum of Photography, Riverside, CA (April 8-June 4, 1989); National Museum of Women in the Arts, Washington, DE (June 25-August 25, 1989); Amon Carter Museum, Fort Worth, TX (September 16-November 12, 1989); Stanford University Museum and Art Gallery, Stanford, CA (December 1, 1989-February 7, 1990); The Cleveland Museum of Art, Cleveland, OH (February 28-April 15, 1990).", "opening_date": "1990-02-28T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}], "legacy": [{"description": "<em>Cubism and American Photography. 1910\u20131930. </em>Sterling and Francine Clark Art Institute, Williamstown, MA (October 31, 1981\u2013 December 6, 1981); International Museum of Photography at George Eastman House, Rochester, NY (December 18, 1981\u2013February 17, 1982); The Toledo Museum of Art (April 30, 1982\u2013June 13, 1982); The Minneapolis Institute of Art (July 2, 1982\u2013August 15, 1982); Bowdoin College Museum of Art, Brunswick, ME (September 3, 1982 \u2013October 17, 1982)", "opening_date": "1981-10-31T00:00:00"}, {"description": "<em>Main Gallery Rotation</em> (Gallery 228). The Cleveland Museum of Art, Cleveland, OH (March 24, 2009\u2013December 7, 2009)", "opening_date": "2009-03-24T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "\u201cPigs\u201d were small, oblong blocks molded from surplus molten steel; a grouping of the molds resembled a litter of piglets.", "description": "A leading photographer of her generation, Bourke-White launched her highly successful career in Cleveland. Captivated by dramatic scenes of industrial production, she received permission to photograph activities at the Otis Steel Company, a major firm with a mill located on the shore of Lake Erie and another on the bank of the Cuyahoga River. These images caught the attention of Henry Luce, founder of <em>Time</em>, <em>Fortune</em>, and <em>Life</em> magazines, who hired her to work as a photojournalist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780956"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (1973): 63\u2013115", "page_number": "Mentioned: p. 113, no. 244", "url": "http://www.jstor.org/stable/25093732"}, {"citation": "Pultz, John, Catherine B. Scallen, and Sterling and Francine Clark Art Institute. <em>Cubism and American Photography, 1910-1930</em>. Williamstown, Mass.: Sterling and Francine Clark Art Institute, 1981.", "page_number": "Mentioned: no. 6; Reproduced: p. 48", "url": ""}, {"citation": "Goldberg, Vicki, International Center of Photography, Detroit Institute of Arts, Nelson-Atkins Museum of Art, Minnesota Museum of Art, Wadsworth Atheneum, California Museum of Photography, et al. <em>Bourke-White</em>. [Hartford, Connecticut]: United Technologies Corporation, 1988.", "page_number": "Mentioned: p. 118, no. 35", "url": ""}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 102", "url": ""}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Mentioned and Reproduced:  p.113, fig. 115; Mentioned: p. 245, no. 32", "url": ""}], "url": "https://clevelandart.org/art/1972.244", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Albert A. Levin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146824, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:50:42.640000"}, {"id": 135517, "accession_number": "1958.56", "share_license_status": "CC0", "tombstone": "The Circus, 1889. Attributed to Suzanne Valadon (French, 1865\u20131938). Oil on fabric; unframed: 48.8 x 60 cm (19 3/16 x 23 5/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.56", "current_location": null, "title": "The Circus", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["female"], "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: 48.8 x 60 cm (19 3/16 x 23 5/8 in.)", "dimensions": {"unframed": {"height": 0.488, "height_inch": 19, "height_inch_fraction": 0.1875, "width": 0.6, "width_inch": 23, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right, carved into wet paint with blunt end of brush: Suzanne Valadon 89 Souvenir\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 445693, "title": "Circus and Carnival", "description": "<i>Circus and Carnival</i>. Cleveland Public Library, Cleveland, OH (organizer) (February 17-May 15, 1970).", "opening_date": "1970-02-17T05:00:00"}, {"id": 444146, "title": "The Circus in Art", "description": "<i>The Circus in Art</i>. John and Mable Ringling Museum of Art, Sarasota, FL (organizer) (January 20-June 1, 1977).", "opening_date": "1977-01-20T05:00:00"}], "legacy": [{"description": "Cleveland Public Library. Circus and Carnival (1970), no cat.", "opening_date": "1970-01-01T00:00:00"}, {"description": "Karamu House, Cleveland. Extended loan, May 1959-January 1970, June 1970-September 1975.", "opening_date": "1959-05-01T00:00:00"}, {"description": "Sarasota, John and Mable Ringling Museum; Gainesville, Fla., University Gallery. The Circus in Art (1976-77), 31 (repr.).", "opening_date": "1976-01-01T00:00:00"}, {"description": "<em>The Hanna Collection of Modern Masterpieces.</em> J.B.Speed Memorial Museum, Louisville, KY (February 13-March 5,1944).", "opening_date": "2013-02-01T00:00:00"}]}, "provenance": [{"description": "Myria Barnwell, Nice. According to label on reverse, sold at auction in 1939. Valentine Gallery, New York, 1942. Bought by Leonard C. Hanna Jr., 12 January 1942, New York and Cleveland. Bequeathed to the CMA in 1958.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Besides being a prolific painter, Suzanne Valdon served as the model for Pierre-Auguste Renoir and Henri de Toulouse-Lautrec.", "description": "The attribution of this painting to Suzanne Valadon has been rejected by several authorities. Others support the attribution, arguing that the painting is merely atypical because it is an early work, signed and dated 1889. Valadon did not begin to develop her mature style until 1891.She was the mother of artist Maurice Utrillo and a prolific painter herself, although she never received any formal artistic training.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465167"], "internet_archive": ["https://archive.org/details/clevelandart-1958.56-the-circus"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland, OH: Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 40", "url": null}, {"citation": "\"Accessions of American and Canadian Museums.\" <em>The Art Quarterly </em>21, no. 1 (Spring 1958): 82-106.", "page_number": "Reproduced: P. 106", "url": null}, {"citation": "Francis, Henry S. \"Report for the Year 1958: Painting Department.\" <em>The</em> <em>Bulletin of The Cleveland Museum of Art XLVI</em> no. 6 (June, 1959): 115-122", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "Harkonen, Helen Bernice, and Robert Clark Nelson. <em>Circuses and Fairs in Art</em>. Minneapolis, MN: Lerner Publications Co, 1965.", "page_number": "Reproduced: p. 13", "url": null}, {"citation": "Jensen, Dean, and Rosalie Goldstein. <em>Center Ring, the Artist: Two Centuries of Circus Art</em>. Milwaukee, MN: Milwaukee Art Museum, 1981.", "page_number": "Mentioned: p. 61; Reproduced: 9. 64, no. 100.", "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. 246", "url": null}, {"citation": "Brade, Johanna. <em>Suzanne Valadon: vom Modell in Montmartre zur Malerin der Klassischen Moderne</em>. Stuttgart, Germany: Belser, 1994.", "page_number": "Mentioned: p. 15,91; Reproduced: p. 32-33", "url": null}, {"citation": "Marchesseau, Daniel. <em>Suzanne Valadon: [exposition] 26 janvier-27 mai 1996</em>. Martigny, Switzerland: Fondation Pierre Gianadda, 1996.", "page_number": "Mentioned: p. 273", "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. 215", "url": null}], "url": "https://clevelandart.org/art/1958.56", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.56/1958.56_web.jpg", "width": "1102", "height": "893", "filesize": "220794", "filename": "1958.56_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.56/1958.56_print.jpg", "width": "3400", "height": "2754", "filesize": "2080154", "filename": "1958.56_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.56/1958.56_full.tif", "width": "6206", "height": "5028", "filesize": "93633256", "filename": "1958.56_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt0_web.jpg", "width": "1098", "height": "893", "filesize": "899065"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt0_print.jpg", "width": "1888", "height": "1536", "filesize": "2692913"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt0_full.tif", "width": "1888", "height": "1536", "filesize": "8703156"}}, {"date_created": "2013-04-04T17:55:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt1_web.jpg", "width": "1086", "height": "893", "filesize": "228053"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt1_print.jpg", "width": "3400", "height": "2797", "filesize": "2934761"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt1_full.tif", "width": "6397", "height": "5264", "filesize": "101043328"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135517, "creators": [{"id": 1827, "description": "Suzanne Valadon (French, 1865\u20131938)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": "Born out of wedlock under the given name Marie-Cl\u00e9mentine, Suzanne Valadon spent her early years in Paris and Nantes, where her single mother worked as a cleaning woman. Valadon was enrolled in a religious school in Paris until 1876, then apprenticed in a dressmaking shop, a florist, and an open-air market before she started drawing. She briefly worked as a trapeze artist in a circus in the beginning of the 1880s, but a fall forced her to look for another occupation. She then began working as a model, posing for Henner (q.v.), Puvis de Chavannes (q.v.), Renoir (q.v.), Henri de Toulouse-Lautrec (1864-1901), and several other painters. Around this time she chose to be called Suzanne. In 1883, when she was eighteen years old, she gave birth to a son, future painter Maurice Utrillo (1883-1955). Encouraged by Degas (q.v.) and Renoir, she became a full-time painter in 1896, financially supported by her new husband, Paul Mousis. Degas taught her printmaking and introduced her to the dealers Durand-Ruel and Vollard. Valadon divorced Mousis in 1909 to marry Andr\u00e9 Utter (1886-1948), a painter and a friend of her son. Beginning in 1909 she exhibited regularly at the Salon d'Automne, and from 1912 she participated in the Salon des Ind\u00e9pendants. Valadon painted portraits, landscapes, nudes, and still lifes.", "name_in_original_language": null, "birth_year": "1865", "death_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "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": "2026-05-01 06:49:37.585000"}, {"id": 153206, "accession_number": "1986.18", "share_license_status": "CC0", "tombstone": "Study for \"The Hireling Shepherd\", 1851. William Holman Hunt (British, 1827\u20131910). Graphite; sheet: 11.4 x 18.3 cm (4 1/2 x 7 3/16 in.). The Cleveland Museum of Art, Delia E. Holden Fund, 1986.18", "current_location": null, "title": "Study for \"The Hireling Shepherd\"", "creation_date": "1851", "creation_date_earliest": 1851, "creation_date_latest": 1851, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "graphite", "support_materials": [{"description": "off-white laid paper", "watermarks": ["WDNEY'S"]}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 11.4 x 18.3 cm (4 1/2 x 7 3/16 in.)", "dimensions": {"sheet": {"height": 0.114, "height_inch": 4, "height_inch_fraction": 0.5, "width": 0.183, "width_inch": 7, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, in graphite, on verso, at lower edge: Sketch for figures in Hireling Shepherd; in graphite, on verso, at center of sheet: First Drawing Hireling Shepherd Pale Cream Mt o Linen same as Scapegoat o Frame same", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": [{"description": "<em>An Exhibition of Drawings by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, Ford Madox Brown</em>. Portsmouth City Museum (1976).", "opening_date": "1976-01-01T00:00:00"}, {"description": "<em>William Holman Hunt</em>. Walker Art Gallery, Liverpool (March 25 - April 29, 1969).", "opening_date": "1969-03-25T00:00:00"}, {"description": "<em>The Pre-Raphaelite Brotherhood (1848-1861)</em>. Birmingham City Museum and Art Gallery (June 7 - July 27, 1947).", "opening_date": "1947-06-07T00:00:00"}, {"description": "<em>Loan Exhibition of Paintings and Drawings of the 1860 Period. </em>National Gallery, London (April 27 - June 29, 1923).", "opening_date": "1923-04-27T00:00:00"}]}, "provenance": [{"description": "The artist's family, by descent", "citations": [], "footnotes": null, "date": "1910-?", "sortorder": 1}, {"description": "Mrs. Elisabeth Burt", "citations": [], "footnotes": null, "date": "?-probably 1985", "sortorder": 2}, {"description": "(sale, Sotheby's, London, October 10, 1985, no. 15)", "citations": [], "footnotes": null, "date": "1985", "sortorder": 3}, {"description": "(Peter Nahum, Ltd., London, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1985-1986", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1986-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Contemporary viewers would have recognized the painting for which this drawing is a study as bearing a deeper meaning: the couple's risky flirtation will lead to disastrous consequences and the shepherd ignores his flock while distracted by romance.", "description": "Together with Dante Gabriel Rossetti and John Everett Millais, William Holman Hunt was one of the founding members in 1848 of the Pre-Raphaelite Brotherhood, a group of young artists who rejected the heavy darkness and idealization of academic history painting, replacing it with meticulously observed, jewel-colored naturalistic detail. This is a study for the figures in the oil painting <em>The Hireling Shepherd</em>, Hunt\u2019s first commercial success. The poses of the couple in the painting are remarkably close to the early study: the shepherd approaches the shepherdess upon his knees, encircling her shoulders with his arm. Devoid of extraneous detail, the study concentrates on the romantic play and erotic tension expressed by the lovers\u2019 intertwined limbs and faces and hands that stop just short of touching.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79938764"], "internet_archive": ["https://archive.org/details/clevelandart-1986.18-study-for-the-hireli"]}, "citations": [{"citation": "Hunt, William Holman. <em>Pre-Raphaelitism and the Pre-Raphaelite Brotherhood</em>. 2nd rev. ed. New York: E. P. Dutton, 1914.", "page_number": "Reproduced: vol. 1, p. 189", "url": "https://hdl.handle.net/2027/hvd.32044034121129"}, {"citation": "<em>Loan Exhibition of Paintings and Drawings of the 1860 Period</em>. Exh. Cat. London: Tate Gallery, 1923.", "page_number": "Mentioned: p. 28, no. 148", "url": null}, {"citation": "<em>The Pre-Raphaelite Brotherhood (1848-1861)</em>. Exh. Cat. Birmingham: Birmingham City Museum and Art Gallery, 1947.", "page_number": "Mentioned: p. 32, no. 151", "url": null}, {"citation": "<em>William Holman Hunt</em>. Exh. Cat. Liverpool: Walker Art Gallery, 1969.", "page_number": "Mentioned: p. 32, no. 151", "url": null}, {"citation": "<em>An Exhibition of Drawings by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, Ford Madox Brown</em>. Exh. Cat. Portsmouth: Portsmouth City Museum and Art Gallery, 1976.", "page_number": "Mentioned: p. 12, no. 13", "url": null}, {"citation": "Turner, Evan H. \"The Year in Review for 1986.\" <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 2 (1987): 38-79.", "page_number": "Mentioned and reproduced: p. 69, no. 151", "url": "www.jstor.org/stable/25159974"}, {"citation": "Bronkhurst, Judith. <em>William Holman Hunt: A Catalogue Raisonn\u00e9</em>. New Haven: Yale University Press, 2006.", "page_number": "Mentioned and reproduced: vol. 2, p. 35, no. D55", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 96-97, 146, no. 32; Reproduced: p. 97", "url": null}], "catalogue_raisonne": "Bronkhurst D55", "url": "https://clevelandart.org/art/1986.18", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.18/1986.18_web.jpg", "width": "1263", "height": "796", "filesize": "669902", "filename": "1986.18_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.18/1986.18_print.jpg", "width": "3400", "height": "2144", "filesize": "5192482", "filename": "1986.18_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.18/1986.18_full.tif", "width": "6456", "height": "4072", "filesize": "78898448", "filename": "1986.18_full.tif"}}, "alternate_images": [], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153206, "creators": [{"id": 1483, "description": "William Holman Hunt (British, 1827\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": "Holman Hunt exhibited an early aptitude for art, which his father, a warehouse manager, initially opposed but later tolerated. Between 1839 and 1843 he practiced drawing and studied with the portrait painter Henry Rogers while sustaining himself as an office clerk. Hunt met John Everett Millais (1829-1896) the same year that he entered the Royal Academy Schools, 1844. A decisive conversion in his attitude toward art came with the reading of John Ruskin's Modern Painters in 1847, immediately after which he embarked on a new style of conscientious naturalism in The Flight of Madeline and Porphyro During the Drunkenness Attending the Revelry (Guildhall, London), a picture inspired by John Keats's The Eve of St. Agnes. Hunt, Millais, and Dante Gabriel Rossetti (1828-1882), who were sharing studios, organized the Pre-Raphaelite Brotherhood in 1848. Rienzi Vowing to Obtain Justice for the Death of His Younger Brother (private collection), Hunt's only picture to be shown publicly with the inscription \"P.R.B.\" was exhibited at the Royal Academy the following summer. With its landscape painted directly from nature, its stylistic allusions to Quattrocento painting, and its medieval subject, Rienzi epitomized the Brotherhood's objectives of reinstating the moral and descriptive honesty of earlier Italian and Flemish painting. The brilliant coloring and crisp light of plein-air painting and an increasing deployment of symbolic details characterize Hunt's other early masterworks, A Converted British Family Sheltering a Christian Priest from the Persecution of the Druids (1850, Ashmolean Museum, Oxford), Valentine Rescuing Sylvia from Proteus (1851, Birmingham Museum and Art Gallery), and the abstrusely moralizing Hireling Shepherd (1851, Manchester City Art Galleries). In 1854, after having finished what would ultimately be his most popular image, The Light of the World (Kebble College, Oxford), Hunt voyaged to the Holy Land where he spent two years traveling from Cairo to Beirut. His intent was to paint religious subjects with archaeological precision. The typology of The Scapegoat (Lady Lever Art Gallery, Port Sunlight), much of which was painted on-site near the Dead Sea, proved too unintelligible for the general public when it was shown at the Royal Academy in 1856, but it remains a work of poignant genius. Subsequent trips to the Holy Land in 1869-72 and 1875-78 resulted in two of his finest late works, The Shadow of Death (1870-73, Manchester City Art Gallery) and The Triumph of the Innocents (1876-87, Walker Art Gallery, Liverpool). Much of Hunt's final years were devoted to writing, especially after his eyesight began to fail in the 1890s, although he managed to finish in 1905, after nearly two decades of labor, his last great picture, The Lady of Shalott (Wadsworth Atheneum, Hartford).", "name_in_original_language": null, "birth_year": "1827", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-08-06T00:00:00", "sortable_date": 1851, "date_added_to_oa": null, "date_text": "1851", "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": "2026-05-01 06:51:21.343000"}, {"id": 150428, "accession_number": "1981.207", "share_license_status": "Copyrighted", "tombstone": "Crickets in November, 1917. Charles Burchfield (American, 1893\u20131967). Pen and brown ink with black ink, colored crayons, and graphite, with watercolor on two sheets of butt-joined wove paper, lined; 21.9 x 27.6 cm (8 5/8 x 10 7/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1981.207. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Crickets in November", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "Pen and brown ink with black ink, colored crayons, and graphite, with watercolor on two sheets of butt-joined wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "21.9 x 27.6 cm (8 5/8 x 10 7/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.219, "height_inch": 8, "height_inch_fraction": 0.625, "width": 0.276, "width_inch": 10, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [{"inscription": "signed, in ink, at lower right: CEB (monogram) / 1917", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 304599, "title": "The Year in Review for 1981", "description": "<i>The Year in Review for 1981</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "<em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Museum of Art, Munson-Williams-Proctor Institute, 1970 (April 9 \u2013 May 31, 1970).", "opening_date": "1970-05-31T00:00:00"}]}, "provenance": [{"description": "Leona E. Prasse [1897-1985], Cleveland, OH, gift to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1981", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1981-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield had an interest in depicting personified buildings, and the windows of the house at right were meant to make it seem alive.", "description": "This drawing contains themes that Burchfield developed to visually convey sound\u2014in this case, the repetitive chirping of crickets. The combination of script-like lines and repeated forms in the foreground evoked the rising and falling of the insects\u2019 noise, and recurred throughout Burchfield\u2019s work around this time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780918"], "internet_archive": []}, "citations": [{"citation": "Maciejunes, Nannette V., and Norine S. Hendricks. \"Nurturing His Muse: The Archives of Charles Burchfield's Creative Life.\" American Art Journal 28, no. 1/2 (1997): 68, 74 (repr. of reproduction).", "page_number": null, "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 28; Reproduced: plate II", "url": null}, {"citation": "Bauer, John I. H. <em>Charles Burchfield. </em>Exh. Cat. New York: Whitney Museum, 1956.", "page_number": "Mentioned: no. 98", "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 311", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953, no. 28, repr. plate II.", "page_number": null, "url": null}, {"citation": "Bauer, John I. H. <em>Charles Burchfield. </em>Exh. Cat. New York. Whitney Museum, 1956, no. 98.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1981.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (February 1982): 39\u201382.", "page_number": "Reproduced: p. 59; Mentioned: p. 80, no. 67", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.207", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150428, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-05-01 06:51:04.674000"}, {"id": 75763, "accession_number": "2020.108", "share_license_status": "CC0", "tombstone": "Procession or Pardon at Perros-Guirec, 1891. Maurice Denis (French, 1870\u20131943). Oil on canvas; unframed: 55.9 x 46.4 cm (22 x 18 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.108", "current_location": null, "title": "Procession or Pardon at Perros-Guirec", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "artists_tags": ["Nabis", "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: 55.9 x 46.4 cm (22 x 18 1/4 in.)", "dimensions": {"unframed": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.464, "width_inch": 18, "width_inch_fraction": 0.25}, "framed": {"height": 0.676, "height_inch": 26, "height_inch_fraction": 0.625, "width": 0.587, "width_inch": 23, "width_inch_fraction": 0.125, "depth": 0.063, "depth_inch": 2, "depth_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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"}], "legacy": [{"description": "<em>Maurice Denis</em>. Orangerie des Tulleries, Paris, France (June 3-13, 1970).", "opening_date": "1970-06-03T04:00:00Z"}, {"description": "<em>Maurice Denis</em>. Kunsthalle Bremen, Bremen, Germany; Kunsthaus Zurich, Zurich, Switzerland; Staten Museum for Kunst, Copenhagen, Denmark (1971-1972).", "opening_date": "1971-01-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Huguett Beres, Paris, France (1992).", "opening_date": "1992-01-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Musee des Beaux-Arts, Lyon, France (September 29-December 18, 1994); Wallraf-Richartz Museum, Cologne, Germany (January 22-February 4, 1995); Walker Art Gallery, Liverpool, United Kingdom (April 21-June 18, 1995).", "opening_date": "1994-09-29T00:00:00"}]}, "provenance": [{"description": "Edouard Vuillard [1868-1940] Paris, France, gifted from the artist in 1891", "citations": [], "footnotes": ["<div><!--block-->According to Maurice Denis, 1870-1943 (Paris: Re\u0301union des Muse\u0301es Nationaux, 1994), p. 133, cat. no. 14, the painting remained with Vuillard until his death in 1940.&nbsp;</div>"], "date": "1891\u20131940", "sortorder": 1}, {"description": "Private Collection, Paris, France", "citations": [], "footnotes": ["<div><!--block-->According to Maurice Denis and Anne Distel, <em>Maurice Denis. Orangerie des Tuileries, 3 juin-31 aou\u0302t 1970.</em> (Paris: Ministe\u0300re d'E\u0301tat, Affaires Culturelles, 1970), cat. no. 60.</div>"], "date": "by 1970", "sortorder": 2}, {"description": "(Galerie Hopkins-Custot, Paris, France)", "citations": [], "footnotes": ["<div><!--block-->Galerie Hopkins-Custot was founded in 1984 by Waring Hopkins and St\u00e9phane Custot.</div>"], "date": "after 1984", "sortorder": 3}, {"description": "Private Collection, France", "citations": [], "footnotes": ["<div><!--block-->According to Anisabelle Bere\u0300s, <em>Maurice Denis, 1870-1943</em> (Paris: Huguette Bere\u0300s, 1992), cat. no. 24.&nbsp;</div>"], "date": "by 1992", "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of \nArt", "citations": [], "footnotes": null, "date": "2020", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A pardon is a ceremony that occurs on the feast of the patron saint of a church often followed by a procession.", "description": "One of the leading artists of a group called the Nabis (\"Prophets\"), Denis rejected naturalism and materialism out of desire to return spirituality to art. His imaginative compositions emphasize flat, decorative shapes and abstract colors. This painting depicts an annual procession in a small village in Brittany held on the feast day of Saint-Jacques. Young women dressed in white lead the procession; they are followed by married women wearing black and carrying a religious icon.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480814"], "internet_archive": ["https://archive.org/details/clevelandart-2020.108-procession-on-pardon", "https://archive.org/details/clevelandart-2020.108-procession-or-pardon"]}, "citations": [{"citation": "Lefevre Galleries, London.<em> Vuillard Et Son Kodak. [Exposition] March 5-26.</em> [London]: Lefevre Gallery, 1964.", "page_number": "Mentioned: P. 13, no. 28", "url": ""}, {"citation": "Muse\u0301e de l'Orangerie, Maurice Denis, and Anne Distel. <em>Maurice Denis. Orangerie des Tuileries, 3 juin-31 aou\u0302t 1970</em>. Paris, France: Ministe\u0300re d'E\u0301tat, Affaires culturelles, 1970.", "page_number": "Mentioned: no. 60", "url": null}, {"citation": "<em>Maurice Denis. Gema\u0308lde, Handzeichnungen, Druckgraphik. Meisterwerke des Nachimpressionismus aus der Sammlung Maurice Denis. </em>(Ausstellung,) Kunsthaus Zu\u0308rich, 29. Jan-12. Ma\u0308rz 1972. (Katalog.). Zu\u0308rich, 1972.", "page_number": "Mentioned: P. 41, no. 39", "url": ""}, {"citation": "Bere\u0300s, Anisabelle. <em>Maurice Denis, 1870-1943</em>. Paris, France: Huguette Bere\u0300s, 1992.", "page_number": "Mentioned: no. 24", "url": null}, {"citation": "Mus\u00e9e des Beaux-Arts, Wallraf-Richartz Museum, Walker Art Gallery, Van Gogh Museum. <em>Maurice Denis, 1870-1943</em>. Lyon: Re\u0301union des Muse\u0301es Nationaux, 1994.", "page_number": "Mentioned and Reproduced: P. 133, no. 14", "url": null}, {"citation": "Cogeval, Guy, Claire Fre\u0300ches-Thory, and Gilles Genty. <em>Il tempo dei Nabis: Bonnard, Vuillard, Maurice Denis, Vallotton, Se\u0301rusier, Ranson, Roussel.</em> Firenze: Artificio, 1998.", "page_number": "Reproduced: P. 60; Mentioned: P. 182, no. 19", "url": ""}, {"citation": "Stahl, Fabienne. \"Maurice Denis.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 68-73. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 68-73; Mentioned: p. 261-263", "url": ""}], "url": "https://clevelandart.org/art/2020.108", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.108/2020.108_web.jpg", "width": "740", "height": "900", "filesize": "389658", "filename": "2020.108_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.108/2020.108_print.jpg", "width": "2797", "height": "3400", "filesize": "4670948", "filename": "2020.108_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.108/2020.108_full.tif", "width": "8011", "height": "9737", "filesize": "234037964", "filename": "2020.108_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 75763, "creators": [{"id": 22965, "description": "Maurice Denis (French, 1870\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "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": "2026-05-01 06:45:21.504000"}, {"id": 130880, "accession_number": "1953.578", "share_license_status": "Copyrighted", "tombstone": "Sunflower Studies, 1917. Charles Burchfield (American, 1893\u20131967). Graphite on wove paper, lined. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1953.578. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Sunflower Studies", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "Graphite on wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {"sheet": {"height": 0.446, "height_inch": 17, "height_inch_fraction": 0.5625, "width": 0.281, "width_inch": 11, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 350592, "title": "Prints and Drawings, 1916-1965", "description": "<i>Prints and Drawings, 1916-1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-July 24, 1966).", "opening_date": "1966-05-20T04:00:00"}, {"id": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 311461, "title": "Generous Donors: A Tribute to The Print Club of Cleveland", "description": "<i>Generous Donors: A Tribute to The Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Print Club of Cleveland as a gift for the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield developed a language of visual symbols, in which the slumping forms of these sunflowers stood for \"Mute Sorrow.\"", "description": "Charles Burchfield made numerous studies of dead sunflowers, focusing on the leaning and twisted forms of the plant. In these drawings, he hoped to capture the contrast of a flower that he saw as \u201cgloriously alive . . . at the height of its vigor . . . [which] nevertheless seems more alive . . . when quite dead.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780885"], "internet_archive": []}, "citations": [{"citation": "Burchfield, Charles E., and Edith H. Jones. <em>The Drawings of Charles Burchfield</em>. New York: Frederic A. Praeger, 1968.", "page_number": "Mentioned: p. 13; Reproduced: plate 5", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: p. 7, no. 25", "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 314", "url": null}], "url": "https://clevelandart.org/art/1953.578", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130880, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-12-15T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-05-01 06:49:14.868000"}, {"id": 166674, "accession_number": "2008.388", "share_license_status": "CC0", "tombstone": "Four Studies of the Head of a Young Italian Woman, 1856. Edgar Degas (French, 1834\u20131917). Graphite; sheet: 46 x 30.5 cm (18 1/8 x 12 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.388", "current_location": null, "title": "Four Studies of the Head of a Young Italian Woman", "creation_date": "1856", "creation_date_earliest": 1856, "creation_date_latest": 1856, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite", "support_materials": [{"description": "gray wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 46 x 30.5 cm (18 1/8 x 12 in.)", "dimensions": {"sheet": {"height": 0.46, "height_inch": 18, "height_inch_fraction": 0.125, "width": 0.305, "width_inch": 12, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "by artist, upper right, in graphite: Rita / Cacciala; by artist, upper right, in graphite: Sora; by artist, lower right, in graphite: Roma; verso, lower left, in graphite: C [underlined]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "<em>French Nineteenth Century Drawings, Pastels, and Watercolors.</em> Shepherd Gallery, New York (November 1977-February 1978).", "opening_date": "1977-11-01T00:00:00"}, {"description": "<em>Degas e l'Italia</em>. Villa Medici, Accademia de Francia, Rome. (December 1, 1984-Feburary 10, 1985).", "opening_date": "1984-12-01T00:00:00"}, {"description": "<em>Degas</em>. Galeries Nationales du Grand Palais, Paris (February 9-May 16, 1988); National Gallery of Canada, Ottawa (June 16-August 28, 1988); The Metropolitan Museum of Art (September 27, 1988-January 8, 1989).", "opening_date": "1988-02-09T00:00:00"}]}, "provenance": [{"description": "Estate of Edgar Degas [1834-1917], Paris, by descent to his brother Ren\u00e9 de Gas", "citations": [], "footnotes": [], "date": "1856-1917", "sortorder": 2}, {"description": "Ren\u00e9 de Gas [1845-1921], Paris, by descent to his family", "citations": [], "footnotes": [], "date": "by 1918-1921", "sortorder": 3}, {"description": "Nepveu-Degas collection, Paris", "citations": [], "footnotes": ["<div><!--block-->Collection stamp, not in Lugt, lower left, in black ink.</div>"], "date": "1921-1976", "sortorder": 4}, {"description": "(Hotel Drouot, Nepveu-Degas collection sale, Paris, May 6, 1976, no. 13, sold to John Couper?)", "citations": [], "footnotes": [], "date": "1976", "sortorder": 5}, {"description": "John Couper, Paris, sold to Shepherd Gallery, New York", "citations": [], "footnotes": [], "date": "Probably 1976-1977", "sortorder": 6}, {"description": "(Shepherd Gallery, New York, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "1977", "sortorder": 7}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1977-2008", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is one of numerous depictions of Italians in local costume that Degas made in his three years traveling around the country.", "description": "This sheet of head studies unites three fundamental characteristics of Degas's art: consummate draftsmanship, captured movement and expression, and an almost obsessive attention to the attitudes of the female figure. Drawn in 1856 during his first trip to Italy, the sheet represents the model in successive positions and expressions of suffering. The name inscribed at the upper right-Rita Cacciala-must be that of the model. Writing models' names and addresses on figure studies was a common practice among artists, providing them with a handy reference of models they might want to contact for future use.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997254"], "internet_archive": ["https://archive.org/details/clevelandart-2008.388-four-studies-of-the"]}, "citations": [{"citation": "Ho\u0302tel Drouot, Paris. <em>Important Ensemble de dessins par Edgar Degas...provenant de l'atelier de l'artiste et d'une partie de la collection Nepveu-Degas</em>. May 6, 1976. Lot 13.", "page_number": "Mentioned: no. 13", "url": null}, {"citation": "Rohowsky, Peter S. <em>French Nineteenth Century Drawings, Pastels, Watercolors: Nov. 1977-Feb. 1978</em>. Exh. Cat. New York: Shepherd Gallery Associates, 1977.", "page_number": "Mentioned and Reproduced: cat. no. 24", "url": null}, {"citation": "Villa Medici. <em>Degas e l'Italia: Villa Medici, 1 dicembre 1984-10 febbraio 1985</em>. Exh. Cat. Roma: F. Palombi, 1984.", "page_number": "Mentioned: cat. no. 31, p. 102, Reproduced: p. 103", "url": null}, {"citation": "Loyrette, Henri et al. <em>Degas</em>. Exh. Cat. Paris: Re\u0301union des Muse\u0301es Nationaux, 1988.", "page_number": "Mentioned and reproduced: pp. 66-67, no. 8", "url": null}, {"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. Cleveland, Ohio: Cleveland Museum of Art, 2001.", "page_number": "Mentioned and Reproduced: cat. no. 38, pp. 86-87", "url": null}, {"citation": "Waller, Susan. \"Rodin and the mod\u00e8le italien.\" <em>sculpture journal</em> 27.1 (2018): 75-88.", "page_number": "Mentioned and Reproduced; pp. 78-79, fig 4", "url": ""}, {"citation": "Waller, Susan. \"Rodin and the Modele Italien.\" <em>The Sculpture Journal</em> 27, no. 1 (2018): 75-88.", "page_number": "Reproduced: p. 79, fig. 4", "url": null}], "url": "https://clevelandart.org/art/2008.388", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.388/2008.388_web.jpg", "width": "602", "height": "893", "filesize": "76724", "filename": "2008.388_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.388/2008.388_print.jpg", "width": "2293", "height": "3400", "filesize": "1562665", "filename": "2008.388_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.388/2008.388_full.tif", "width": "3888", "height": "5764", "filesize": "67256112", "filename": "2008.388_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T19:47:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.388/2008.388_alt0_web.jpg", "width": "613", "height": "893", "filesize": "294229"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.388/2008.388_alt0_print.jpg", "width": "2335", "height": "3400", "filesize": "4755569"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.388/2008.388_alt0_full.tif", "width": "3434", "height": "5000", "filesize": "51528372"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166674, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "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": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:54.672000"}, {"id": 130714, "accession_number": "1953.431", "share_license_status": "Copyrighted", "tombstone": "Church Bells Ringing, Rainy Winter Night, No. 3, 1917. Charles Burchfield (American, 1893\u20131967). Graphite, smudged in places on two sheets of butt-joined wove paper, lined; sheet: 25.2 x 13.8 cm (9 15/16 x 5 7/16 in.); secondary support: 26.9 x 13.8 cm (10 9/16 x 5 7/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1953.431. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Church Bells Ringing, Rainy Winter Night, No. 3", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "graphite, smudged in places on two sheets of butt-joined wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 25.2 x 13.8 cm (9 15/16 x 5 7/16 in.); Secondary Support: 26.9 x 13.8 cm (10 9/16 x 5 7/16 in.)", "dimensions": {"sheet": {"height": 0.252, "height_inch": 9, "height_inch_fraction": 0.9375, "width": 0.138, "width_inch": 5, "width_inch_fraction": 0.4375}, "secondary support": {"height": 0.269, "height_inch": 10, "height_inch_fraction": 0.5625, "width": 0.138, "width_inch": 5, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 338564, "title": "An American Visionary: Watercolors and Drawings of Charles E. Burchfield", "description": "<i>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</i>. Currier Museum of Art; Berkshire Museum; Boston Athenaeum (March 20-May 16, 1986).", "opening_date": "1986-03-20T05:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield drew in layers of graphite to create forms on the church's steeple that suggest the sound of ringing bells and appearance of dripping rain.", "description": "This drawing is a study for one of Burchfield\u2019s <em>Church Bells Ringing, Rainy Winter Night</em>, painted in December 1917. The artist described the work as \u201can attempt to express a childhood emotion\u2014a rainy winter night\u2014the church bell is ringing and it terrifies me (the child)\u2014the bell ringing motive reaches out and saturates the rainy sky\u2014the roofs of the houses dripping with rain are influenced; the child attempts to be comforted by the thoughts of candle lights and Christmas trees, but the fear of the black, rainy night is overpowering.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781291"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. \"An Exhibition of the Drawings of Charles E. Burchfield.\" <em>Bulletin of the Cleveland Museum of Art</em> (November 1953): 203.", "page_number": "Mentioned: p. 203", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 32", "url": null}, {"citation": "Townsend, J. Benjamin. <em>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</em>. Exh. Cat. Boston: Athen\u00e6um, 1986.", "page_number": "Mentioned: no. 50", "url": null}], "url": "https://clevelandart.org/art/1953.431", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130714, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-11-05T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-05-01 06:49:14.068000"}, {"id": 161786, "accession_number": "2001.123", "share_license_status": "Copyrighted", "tombstone": "Differential Complex, 1910. Manierre Dawson (American, 1887\u20131969). Oil on board; framed: 54.6 x 44.5 x 5.1 cm (21 1/2 x 17 1/2 x 2 in.); unframed: 40.7 x 31.8 cm (16 x 12 1/2 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2001.123", "current_location": null, "title": "Differential Complex", "creation_date": "1910", "creation_date_earliest": 1910, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on board", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 54.6 x 44.5 x 5.1 cm (21 1/2 x 17 1/2 x 2 in.); Unframed: 40.7 x 31.8 cm (16 x 12 1/2 in.)", "dimensions": {"framed": {"height": 0.546, "height_inch": 21, "height_inch_fraction": 0.5, "width": 0.445, "width_inch": 17, "width_inch_fraction": 0.5, "depth": 0.051, "depth_inch": 2, "depth_inch_fraction": 0.0}, "unframed": {"height": 0.407, "height_inch": 16, "height_inch_fraction": 0.0, "width": 0.318, "width_inch": 12, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}, {"id": 230512, "title": "Against the Grain: Modernism in the Midwest", "description": "<i>Against the Grain: Modernism in the Midwest</i>. Massillon Museum, Massillon, OH (organizer) (May 15-September 12, 2010); Riffe Gallery, Columbus, OH (November 4, 2010-January 9, 2011); Southern Ohio Museum, Portsmouth, OH (March 5-May 29, 2011).", "opening_date": "2010-05-15T00:00:00"}], "legacy": [{"description": "New York, NY, Whitney Museum of American Art, Manniere Dawson: Early Abstractionist (8 July - 11 September 1988).", "opening_date": "1988-07-08T00:00:00"}, {"description": "MOCA Cleveland (6/9/2006 - 8/20/2006):  \"The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art\", no. 57, p. 118, color repr. p. 14 &amp; p. 67.", "opening_date": "2006-06-09T00:00:00"}, {"description": "Massillon Museum (5/15/2010 - 9/12/2010), Riffe Gallery (11/4/2010 - 1/9/2011), and Southern Ohio Museum (3/5/2011 - 5/29/2011):  \"Against the Grain: Modernism in the Midwest\", ex. cat. no. 1, p. 34.", "opening_date": "2010-05-15T00:00:00"}]}, "provenance": [{"description": "Dawson estate; sold February 4, 1990 to Mr. and Mrs. R. Shapiro, New York, NY; sold by Tim Foley of the Tilden Foley Gallery, New Orleans, LA; Hollis Taggart Gallery, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although he remained interested in art making, Manierre Dawson spent the bulk of his career as a fruit farmer in Michigan.", "description": "Manierre Dawson's mathematical training and his early work as a civil engineer influenced his artistic interests. His early abstractions, including <em>Differential Complex,</em> are reminiscent of mathematical diagrams. He is credited to be one of the first American painters to create purely abstract work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478070"], "internet_archive": []}, "citations": [{"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned and reproduced: P. 67, no. 57", "url": ""}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 118 - 119", "url": ""}], "url": "https://clevelandart.org/art/2001.123", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161786, "creators": [{"id": 40979, "description": "Manierre Dawson (American, 1887\u20131969)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1969", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-12-03T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910", "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": "2026-05-01 06:52:20.520000"}, {"id": 453030, "accession_number": "2022.1", "share_license_status": "CC0", "tombstone": "View across the Moat towards the Thomasschule and the Thomaskirche in Leipzig, 1817. Julius Schnorr von Carolsfeld (German, 1794\u20131872). Pen and black ink and graphite on ivory wove paper; support: 31 x 38.6 x 0.2 cm (12 3/16 x 15 3/16 x 1/16 in.); image: 15.7 x 23.8 cm (6 3/16 x 9 3/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2022.1", "current_location": null, "title": "View across the Moat towards the Thomasschule and the Thomaskirche in Leipzig", "creation_date": "1817", "creation_date_earliest": 1817, "creation_date_latest": 1817, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "Pen and black ink and graphite on ivory wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Support: 31 x 38.6 x 0.2 cm (12 3/16 x 15 3/16 x 1/16 in.); Image: 15.7 x 23.8 cm (6 3/16 x 9 3/8 in.)", "dimensions": {"image": {"height": 0.157, "height_inch": 6, "height_inch_fraction": 0.1875, "width": 0.238, "width_inch": 9, "width_inch_fraction": 0.375}, "support": {"height": 0.31, "height_inch": 12, "height_inch_fraction": 0.1875, "width": 0.386, "width_inch": 15, "width_inch_fraction": 0.1875, "depth": 0.002, "depth_inch": 0, "depth_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed and dated at lower left: Leipzig 1817 M. July", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "stamped at lower right on verso in blue ink: mark of Carl Heumann collection (Lugt 2841a)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "watermark: H * O S E R [unidentified]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Deutsche Landscaftskunst, 1750\u20131850: Zeichnungen und Aquarelle aus der Sammlung Heumann, Chemnitz</em>. Schlesisches Museum der Bildenden K\u00fcnste, Breslau, Poland (1933).", "opening_date": "1933-01-01T05:00:00Z"}, {"description": "<em>Zeichenkunst der deutschen Romantik</em>. Nassauisches Landesmusuem, Wiesbaden, Germany (May\u2013mid-July 1937)", "opening_date": "1937-05-01T04:00:00Z"}, {"description": "<em>Julius Schnorr von Carolsfeld, 1794\u20131872</em>. Museum der Bildenden K\u00fcnste, Leipzig (March 26\u2013May 23, 1994); Kunsthalle Bremen, Germany (June 5\u2013July 31, 1994).", "opening_date": "1994-03-26T05:00:00Z"}]}, "provenance": [{"description": "Eduard Cichorius [1819\u20131907], Dresden, Germany", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Professor Ludwig Schnorr von Carolsfeld [1877\u20131945], Berlin, the artist\u2019s grandson", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Carl Heumann [1886\u20131945], Chemnitz, Germany", "citations": [], "footnotes": null, "date": "?-1945", "sortorder": 3}, {"description": "Carl Heumann Estate", "citations": [], "footnotes": null, "date": "1945\u201357", "sortorder": 4}, {"description": "(Carl Heumann posthumous collection sale, Stuttgarter Kunstkabinett, no. 320, sold to Erhard G\u00f6pel), 1957", "citations": [], "footnotes": null, "date": "November 29, 1957", "sortorder": 5}, {"description": "Erhard G\u00f6pel [1906\u20131966], Munich, Germany", "citations": [], "footnotes": null, "date": "1957\u201366", "sortorder": 6}, {"description": "By descent to his wife, Barbara G\u00f6pel [1922\u20132017], Munich, Germany", "citations": [], "footnotes": null, "date": "1966-?", "sortorder": 7}, {"description": "Private Collection, Germany", "citations": [], "footnotes": null, "date": "1994-2019", "sortorder": 8}, {"description": "(Daxer & Marschall Kunsthandels, Munich, Germany, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2019\u201322", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH,", "citations": [], "footnotes": null, "date": "2022-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The landscape in this drawing is seen from the perspective of Schnorr von Carolsfeld\u2019s family home in Leipzig.", "description": "Julius Schnorr von Carolsfeld belonged to the Nazarenes, a group of artists who looked to early Northern Renaissance art for its simplicity and piety. The artist created this drawing during a visit to his native Leipzig en route to join the Nazarenes in Rome. He depicted the city\u2019s distinctive features, including the oldest German language school in Europe (of which he was an alumnus) and a church where Johann Sebastian Bach served as cantor during the 18th century. The artist himself appears in a self-portrait at right in the pair seen at lower left. He juxtaposed loosely sketched landscape with areas of profuse detail, created with a hard and sharpened pencil reinforced with pen and ink.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247166"], "internet_archive": ["https://archive.org/details/clevelandart-2022.1-view-across-the-moat"]}, "citations": [{"citation": "<em>Deutsche Landscaftskunst, 1750\u20131850: Zeichnungen und Aquarelle aus der Sammlung Heumann, Chemnitz</em>. Exh. Cat. Breslau: Schlesisches Museum der Bildenden K\u00fcnste, 1933.", "page_number": "Mentioned no. 135", "url": ""}, {"citation": "<em>Zeichenkunst der deutschen Romantik</em>. Exh. Cat. Wiesbaden: Nassauisches Landesmusuem, 1937.", "page_number": "Mentioned: 30, no. 282", "url": ""}, {"citation": "G\u00f6pel, Erhard. \u201cDeutsche K\u00fcnstler zeichnen in Leipzig.\u201d <em>Leipziger Jahrbuch </em>14 (1939).", "page_number": "Mentioned p. 134\u201336", "url": ""}, {"citation": "<em>Kunst des 18. und 19. Jahrhunderts: Sammlung Heumann, Chemnitz</em>. Stuttgart: Stuttgarter Kunstkabinetts, 1957.", "page_number": "Mentioned: p. 66, no. 320; Reproduced: pl. 18", "url": ""}, {"citation": "G\u00f6pel, Erhard. \u201cEine unbekannte Ansicht Leipzigs\u201d <em>Neue Lepipziger Zeitung</em> 249, no. 6 (September 6, 1933).", "page_number": "reproduced", "url": ""}, {"citation": "Mehnert, Karl Hein. \u201cEine wiederentdeckte Stadtansicht: Zur Ausstellung Julius Schnorr von Carolsfeld im Museum der bildenden K\u00fcnste.\u201d <em>Leipziger Blatter</em> 27 (Spring 1994).", "page_number": "Reproduced: p. 74; Mentioned: p. 75.", "url": ""}, {"citation": "<em>Julius Schnorr von Carolsfeld, 1794\u20131872</em>. Exh. Cat. Leipzig: Museum der Bildenden K\u00fcnste, 1994.", "page_number": "Mentioned: 197\u201398, no. 27; Reproduced: p. 97", "url": ""}], "url": "https://clevelandart.org/art/2022.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.1/2022.1_web.jpg", "width": "900", "height": "609", "filesize": "253850", "filename": "2022.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.1/2022.1_print.jpg", "width": "3400", "height": "2300", "filesize": "2833354", "filename": "2022.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.1/2022.1_full.tif", "width": "10916", "height": "7383", "filesize": "241806544", "filename": "2022.1_full.tif"}}, "alternate_images": [{"date_created": "2022-05-13T10:27:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.1/2022.1_alt0_web.jpg", "width": "900", "height": "603", "filesize": "276038"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.1/2022.1_alt0_print.jpg", "width": "3400", "height": "2277", "filesize": "3482810"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.1/2022.1_alt0_full.tif", "width": "11999", "height": "8036", "filesize": "289300616"}}], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 453030, "creators": [{"id": 453023, "description": "Julius Schnorr von Carolsfeld (German, 1794\u20131872)", "extent": null, "qualifier": null, "role": "artist", "biography": "German painter, 1794-1872", "name_in_original_language": null, "birth_year": "1794", "death_year": "1872", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-03-07T05:00:00Z", "sortable_date": 1817, "date_added_to_oa": null, "date_text": "1817", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "For this work on wove paper, Schnorr von Carolsfeld established the composition as a line drawing using a pale silvery-gray graphite pencil. Then to shade and strengthen the wooded area at the center of the composition and the two figures in the left foreground, he went over the graphite with pen and gray-black ink using outline and a regimented system of hatching and crosshatching with a strong right-handed directional. Establishing two focal points with a second darker medium\u2014in this case one that resembles dark graphite\u2014does not, however, overwhelm the more delicately rendered elements, including the cursorily drawn landscape and trees on the left and detailed architecture representing the Thomasschule on the right. A sure and steady hand is evident in the detailed and complex architectural structures; it is also apparent that many of their rectilinear elements were gone over with a graphite line applied with the aid of a straight edge. The figure bearing a likeness to the artist in his youth shows numerous corrections in graphite to the proper left arm, leg, and foot. <br><br>Several observations bring up the possibility that Schnorr von Carolsfeld made this drawing with the aid of a camera lucida, an optical drawing instrument recommended for mastering perspective and topographical accuracy in landscape, as well as capturing likenesses for portraiture. (Sir William Hyde Wollaston\u2019s popular prism camera lucida was invented in 1807.) With this instrument an initial sketch is made by tracing a virtual image reflected on paper. (The camera obscura, an earlier optical drawing aid still in use at this time, works by casting a real image onto a surface which then can be traced.) <br><br>When working with the camera lucida artists often drew over the initial sketch with a second linear medium to correct, reinforce, and realize a more finished drawing, but in doing so many of the subtle and quirky clues inherent to the camera lucida line were lost. Clearly a good portion of this composition was gone over, aligning with this practice.<br><br>Therefore, it is the unmodified line seen in the tree growth in the left background and defining the middle grassy bank that arguably bears the most compelling evidence of the use of a camera lucida. This portion of the composition captures the habit of a traced line\u2014specifically a line tracing a tenuous reflected image\u2014to meander falteringly through a view with awkward starts and stops and illogical transitions.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:54:18.974000"}, {"id": 130713, "accession_number": "1953.430", "share_license_status": "Copyrighted", "tombstone": "Church Bells Ringing, Rainy Winter Night, No. 2, 1917. Charles Burchfield (American, 1893\u20131967). Graphite on two sheets of butt-joined wove paper; 32.1 x 18.6 cm (12 5/8 x 7 5/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1953.430. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Church Bells Ringing, Rainy Winter Night, No. 2", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "graphite on two sheets of butt-joined wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "32.1 x 18.6 cm (12 5/8 x 7 5/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.321, "height_inch": 12, "height_inch_fraction": 0.625, "width": 0.186, "width_inch": 7, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 338564, "title": "An American Visionary: Watercolors and Drawings of Charles E. Burchfield", "description": "<i>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</i>. Currier Museum of Art; Berkshire Museum; Boston Athenaeum (March 20-May 16, 1986).", "opening_date": "1986-03-20T05:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rather than working on a single sheet, Burchfield joined two pieces of paper to make this drawing.", "description": "This drawing is the second study for Charles Burchfield's <em>Church Bells Ringing, Rainy Winter Night</em>, which he considered the most important drawing of his \"golden year.\" Here, the artist sketched the composition in graphite, attempting to record the spire of Salem\u2019s Baptist church (since destroyed by fire) rising up between two houses. Burchfield hoped to express his powerful childhood fear of the bell\u2019s ominous ring\u2014which he described as \u201ca dull roar . . . dying slowly &amp; with a growl.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781241"], "internet_archive": []}, "citations": [{"citation": "Townsend, J. Benjamin. <em>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</em>. Exh. Cat. Boston: Athen\u00e6um, 1986.", "page_number": "Mentioned: no. 49", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 31", "url": null}, {"citation": "Kraynak, Scott, Henry Adams, Douglas Max Utter, William G. Scheele, R. A. Washington, and Mike Hudson. <em>The Heart of Cleveland.</em> Shaker Hts, OH: Red Giant Books, 2018.", "page_number": "Reproduced: P. 18, fig. 7", "url": null}], "url": "https://clevelandart.org/art/1953.430", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130713, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-11-05T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-05-01 06:49:14.061000"}, {"id": 150463, "accession_number": "1981.29", "share_license_status": "CC0", "tombstone": "A Portrait of Welby Sherman Asleep in a Chair, 1828. George Richmond (British, 1809\u20131896). Graphite with touches of watercolor; sheet: 16 x 13.2 cm (6 5/16 x 5 3/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Edward B. Greene by exchange, 1981.29", "current_location": null, "title": "A Portrait of Welby Sherman Asleep in a Chair", "creation_date": "1828", "creation_date_earliest": 1828, "creation_date_latest": 1828, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "graphite with touches of watercolor", "support_materials": [{"description": "vellum", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 16 x 13.2 cm (6 5/16 x 5 3/16 in.)", "dimensions": {"sheet": {"height": 0.16, "height_inch": 6, "height_inch_fraction": 0.3125, "width": 0.132, "width_inch": 5, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, in graphite, at lower margin: Welby Sherman / May 16th as he may be seen after dniner / 1828; inscribed in graphite, on verso, upper half of sheet: From Mrs. Hartley's Scrap-Book", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304599, "title": "The Year in Review for 1981", "description": "<i>The Year in Review for 1981</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 310295, "title": "The Birth and Flowering of British Romantic Art", "description": "<i>The Birth and Flowering of British Romantic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-July 22, 1990).", "opening_date": "1990-05-01T04:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Miriam Hartley (great-great-grandaughter of the artist)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(Colnaghi & Co. Ltd., London)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "(Shaunagh Fitzgerald, Ltd., London)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "Mr. and Mrs. Edward B. Greene, Cleveland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1981", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1981-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Both George Richmond and Welby Sherman belonged to a group of artists who called themselves the Ancients, who looked to the Middle Ages for inspiration and celebrated the divine in nature.", "description": "George Richmond\u2019s study of his friend, the dozing artist, Welby Sherman, was endearingly inscribed, \"As he may be seen after dinner.\" Dressed in a cravat and jacket and seated in a hard-backed chair, Sherman has momentarily drifted off, perhaps during a lull in friendly conversation. Minute touches of black wash define the bridge of his nose, eyelashes, and brow, and exquisitely subtle graphite hatching expresses the soft curves of the youthful sitter\u2019s features. Touches of pink wash on the lips and cheek breathe life into the figure.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932934"], "internet_archive": ["https://archive.org/details/clevelandart-1981.29-a-portrait-of-welby"]}, "citations": [{"citation": "Lister, Raymond. <em>George Richmond: A Critical Biography</em>. London: Robin Garton, 1981.", "page_number": "Mentioned and reproduced: pp. 17-18, no. 7", "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1981.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (February 1982): 39\u201382.", "page_number": "Reproduced: p. 53; Mentioned: p. 82, no. 107", "url": "http://www.jstor.org/stable/25159758"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 74-75, 148, no. 23; Reproduced: p. 75", "url": null}], "url": "https://clevelandart.org/art/1981.29", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1981.29/1981.29_web.jpg", "width": "746", "height": "893", "filesize": "441357", "filename": "1981.29_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1981.29/1981.29_print.jpg", "width": "2842", "height": "3400", "filesize": "7091123", "filename": "1981.29_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1981.29/1981.29_full.tif", "width": "4474", "height": "5352", "filesize": "71862004", "filename": "1981.29_full.tif"}}, "alternate_images": [{"date_created": "2007-08-20T17:56:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.29/1981.29_alt0_web.jpg", "width": "755", "height": "893", "filesize": "478521"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.29/1981.29_alt0_print.jpg", "width": "2876", "height": "3400", "filesize": "7561604"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.29/1981.29_alt0_full.tif", "width": "3962", "height": "4684", "filesize": "55705416"}}], "creditline": "Gift of Mr. and Mrs. Edward B. Greene by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150463, "creators": [{"id": 1477, "description": "George Richmond (British, 1809\u20131896)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1809", "death_year": "1896", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-08-19T00:00:00", "sortable_date": 1828, "date_added_to_oa": null, "date_text": "1828", "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": "2026-05-01 06:51:04.922000"}, {"id": 162877, "accession_number": "2003.361", "share_license_status": "Copyrighted", "tombstone": "Terminal Tower, 1928. Margaret Bourke-White (American, 1904\u20131971). Gelatin silver print; overall: 49.4 x 37.2 cm (19 7/16 x 14 5/8 in.); matted: 76.2 x 61 cm (30 x 24 in.). The Cleveland Museum of Art, Gift of Huntington Bank, 2003.361. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Terminal Tower", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Overall: 49.4 x 37.2 cm (19 7/16 x 14 5/8 in.); Matted: 76.2 x 61 cm (30 x 24 in.)", "dimensions": {"overall": {"height": 0.494, "height_inch": 19, "height_inch_fraction": 0.4375, "width": 0.372, "width_inch": 14, "width_inch_fraction": 0.625}, "matted": {"height": 0.762, "height_inch": 30, "height_inch_fraction": 0.0, "width": 0.61, "width_inch": 24, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007); Frick Art and Historical Center, Pittsburgh, PA (October 3, 2009-January 3, 2010).", "opening_date": "2007-06-24T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; March 28 - July 18, 2004. \"Burchfield to Schreckengost: Cleveland Art of the Jazz Age\", no exhibition catalogue.", "opening_date": "2004-03-28T00:00:00"}, {"description": "The Cleveland Museum of Art (6/24/07 - 9/16/07) and the Frick Art and Historical Center, Pittburgh, PA (10/3/2009 - 1/3/2010); \"Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art\", no exhibition catalogue.", "opening_date": "2007-06-24T00:00:00"}]}, "provenance": [{"description": "Huntington National Bank, Cleveland, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 1, 2004", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is the largest known print of Margaret Bourke-White\u2019s iconic photograph of Cleveland.", "description": "Bourke-White made numerous photographs of the newly completed Terminal Tower, at that time the second tallest building in America. Here she places it at the apex of a visual pyramid, as if ascending from a smoky pit, flanked by the Detroit-Superior Bridge and smokestacks in the Flats. The tower symbolizes Cleveland\u2019s industrial power and meteoric rise from a small settlement to a modern, progressive city.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79988052"], "internet_archive": []}, "citations": [{"citation": "Robinson, William H., Kathleen McKeever, \"And All That Jazz\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 44 no. 05, May 2004", "page_number": "Mentioned & reproduced: p. 7", "url": "https://archive.org/details/CMAMM2004-05/page/n5"}, {"citation": "Hinson, Tom. \"Iconic Images.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>47, no. 6 (July/August 2007): 3-6.", "page_number": "Reproduced: p. 3; Mentioned: p. 5", "url": "https://archive.org/details/CMAMM2007-06/page/2/mode/2up"}, {"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. 310-311; Reproduced: P. 302-303", "url": ""}], "url": "https://clevelandart.org/art/2003.361", "images": {}, "alternate_images": [], "creditline": "Gift of Huntington Bank", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162877, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-03-01T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:52:27.857000"}, {"id": 130711, "accession_number": "1953.428", "share_license_status": "Copyrighted", "tombstone": "Winter Night, 1917. Charles Burchfield (American, 1893\u20131967). Black ink, black crayon, and graphite on two sheets of butt-joined paper, lined; sheet: 27.7 x 24.8 cm (10 7/8 x 9 3/4 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1953.428. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Winter Night", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "black ink, black crayon, and graphite on two sheets of butt-joined paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 27.7 x 24.8 cm (10 7/8 x 9 3/4 in.)", "dimensions": {"sheet": {"height": 0.277, "height_inch": 10, "height_inch_fraction": 0.875, "width": 0.248, "width_inch": 9, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [{"id": 127227, "description": "Church Bells Ringing, Rainy Winter Night, December 1917. Charles Burchfield (American, 1893\u20131967). Watercolor and gouache over graphite on wove paper; sheet: 77.2 x 50 cm (30 3/8 x 19 11/16 in.); secondary support: 77.5 x 50 cm (30 1/2 x 19 11/16 in.). The Cleveland Museum of Art, Gift of Mrs. Louise M. Dunn in memory of Henry G. Keller, 1949.544", "relationship": null}], "former_accession_numbers": [], "did_you_know": "The two children who stare out of the window of the left house are replaced in the final watercolor by a Christmas tree, which symbolized Burchfield's favorite holiday.", "description": "In this drawing, Burchfield focused on the two houses seen in his 1917 watercolor, <em>Church Bells Ringing,</em> minimizing the church steeple that dominates the final composition. He also further developed the work\u2019s symbolism, describing the scene as \u201cAn imaginary composition\u2014two houses in the foreground; one on the left to represent human evil and misery; that on the right: happiness and innocence. In the background a building to signify . . . materialism, and a church steeple to denote religion or idealism.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780760"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 59", "url": null}, {"citation": "Prasse, Leona E. \"An Exhibition of the Drawings of Charles E. Burchfield.\" <em>Bulletin of the Cleveland Museum of Art</em> (November 1953): 203.", "page_number": "Mentioned: p. 203", "url": null}], "url": "https://clevelandart.org/art/1953.428", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130711, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-11-05T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-05-01 06:49:14.047000"}, {"id": 155930, "accession_number": "1991.22", "share_license_status": "CC0", "tombstone": "Traveler in a Woodland Landscape, 1806. John Sell Cotman (British, 1782\u20131842). Graphite and gray wash; sheet: 30.3 x 21 cm (11 15/16 x 8 1/4 in.). The Cleveland Museum of Art, Delia E. Holden Fund, 1991.22", "current_location": null, "title": "Traveler in a Woodland Landscape", "creation_date": "1806", "creation_date_earliest": 1806, "creation_date_latest": 1806, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "graphite and gray wash", "support_materials": [{"description": "beige wrapping paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 30.3 x 21 cm (11 15/16 x 8 1/4 in.)", "dimensions": {"sheet": {"height": 0.303, "height_inch": 11, "height_inch_fraction": 0.9375, "width": 0.21, "width_inch": 8, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Eric Hinde", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(Davis and Langdale, New York, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1991", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1991-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is closely related to one in the collection of the Norwich Castle Museum, in which a similarly abstracted figure retreats beneath embowering trees twisted in fantastic shapes.", "description": "John Sell Cotman left his native Norfolk at the young age of 16 and traveled to London with the aspiration to be an artist. His work evolved at a rapid pace as he developed a highly original style remarkable for its simple elegance and schematic treatment of the natural world. This landscape was made soon after a trip to Yorkshire. Cotman largely ignored the noteworthy landmarks of the area, preferring obscure views\u2014trees, crumbling stone walls, and dilapidated fences. Inspired by the Greta woods, the straining bows of the trees form a beautifully balanced structure of geometric and amorphous shapes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944585"], "internet_archive": ["https://archive.org/details/clevelandart-1991.22-traveler-in-a-woodla"]}, "citations": [{"citation": "Rajnai, Miklo\u0301s and Marjorie Allthorpe-Guyton. <em>John Sell Cotman, 1782-1842: Early Drawings (1798-1812) in Norwich Castle Museum</em>. Norwich, UK: Norfolk Museums Service, 1979.", "page_number": "Mentioned: p. 58, no. 49, and p. 58, n. 7, no. 48", "url": null}, {"citation": "Turner, Evan H. et al. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (June 1991): 63-147.", "page_number": "Reproduced: p. 77", "url": "www.jstor.org/stable/25161319"}, {"citation": "Hill, David. <em>Cotman in the North: Watercolours of Durham and Yorkshire</em>. New Haven: Yale University Press, 2005.", "page_number": "Mentioned: p. 173, n. 20", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 56-7, 144, no. 17; Reproduced: p. 57", "url": null}], "url": "https://clevelandart.org/art/1991.22", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.22/1991.22_web.jpg", "width": "635", "height": "893", "filesize": "498584", "filename": "1991.22_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.22/1991.22_print.jpg", "width": "2417", "height": "3400", "filesize": "3725633", "filename": "1991.22_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.22/1991.22_full.tif", "width": "3630", "height": "5107", "filesize": "55649916", "filename": "1991.22_full.tif"}}, "alternate_images": [{"date_created": "2007-08-20T17:53:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.22/1991.22_alt0_web.jpg", "width": "625", "height": "893", "filesize": "476999"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.22/1991.22_alt0_print.jpg", "width": "2381", "height": "3400", "filesize": "6927394"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.22/1991.22_alt0_full.tif", "width": "3552", "height": "5072", "filesize": "54080744"}}], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155930, "creators": [{"id": 1539, "description": "John Sell Cotman (British, 1782\u20131842)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1782", "death_year": "1842", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-03-27T00:00:00", "sortable_date": 1806, "date_added_to_oa": null, "date_text": "1806", "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": "2026-05-01 06:51:37.771000"}, {"id": 171051, "accession_number": "2013.47", "share_license_status": "CC0", "tombstone": "Portrait of Violinist Jean Vidal (1789\u20131867), 1808. Adrien Victor Auger (French, 1787\u20131854). Black and gray chalk, with touches of white chalk, on tan wove paper; image: 75.4 x 54.1 cm (29 11/16 x 21 5/16 in.); sheet with border: 91.5 x 64.4 cm (36 x 25 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2013.47", "current_location": null, "title": "Portrait of Violinist Jean Vidal (1789\u20131867)", "creation_date": "1808", "creation_date_earliest": 1808, "creation_date_latest": 1808, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black and gray chalk, with touches of white chalk, on tan wove paper", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Image: 75.4 x 54.1 cm (29 11/16 x 21 5/16 in.); Sheet with border: 91.5 x 64.4 cm (36 x 25 3/8 in.)", "dimensions": {"image": {"height": 0.754, "height_inch": 29, "height_inch_fraction": 0.6875, "width": 0.541, "width_inch": 21, "width_inch_fraction": 0.3125}, "sheet with border": {"height": 0.915, "height_inch": 36, "height_inch_fraction": 0.0, "width": 0.644, "width_inch": 25, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, bottom left, in pen and brown ink: Victor Auger, El\u00e8ve de David, fecit; bottom right, in pen and brown ink: anno 1808; watermark, upper left: WHATMAN / 1801", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 203744, "title": "Themes and Variations: Musical Drawings and Prints", "description": "<i>Themes and Variations: Musical Drawings and Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 17, 2015).", "opening_date": "2015-01-25T00:00:00"}, {"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>Master Drawings: 1530\u20131920</em>. W. M. Brady &amp; Co., New York (January 24\u2013February 3, 2012).", "opening_date": "2012-02-03T00:00:00"}]}, "provenance": [{"description": "Family of the artist, by descent", "citations": [], "footnotes": null, "date": "1854-?", "sortorder": 1}, {"description": "(Galerie J. Kugel, Paris)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "(Thomas Le Claire, Hamburg)", "citations": [], "footnotes": null, "date": "by 2006-2012", "sortorder": 3}, {"description": "(W. M. Brady & Co., New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2012-2013", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2013-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Reflecting its personal significance to the sitter, this drawing stayed in the violinist\u2019s family for generations.", "description": "This portrait is the most finished known work by Adrien Victor Auger, who broke from the idealized forms and historical subjects promoted by his teacher, Jacques-Louis David (whose work is nearby). In this drawing, Auger referenced contemporary Parisian cultural life, depicting the accomplished musician Jean Vidal as he embarked on an illustrious career in violin performance. Vidal is fashionably attired and gazes dreamily, signifying his modernity and artistic temperament. Auger rendered the violinist\u2019s likeness with great detail and realism\u2014including his slumping stockings and smooth shirt collar\u2014by varying the density of repeated chalk marks and highlighting the paper\u2019s tan tone with touches of white.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80080725"], "internet_archive": ["https://archive.org/details/clevelandart-2013.47-portrait-of-violinis"]}, "citations": [{"citation": "<em>Master Drawings: 1530\u20131920</em>. New York: W. M. Brady &amp; Co., 2012.", "page_number": "Mentioned and reproduced: no. 28", "url": ""}, {"citation": "Lemonedes, Heather.  \u201c2013 Acquisitions: Drawings.\u201d  <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 18.", "page_number": "Reproduced and Mentioned: p. 18", "url": "https://archive.org/details/CMAMM2014-02"}, {"citation": "Lemonedes, Heather. \u201cThemes and Variations: Works on paper from the museum's collection with a musical motif.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 1 (January/February 2015): Cover, 4-5.", "page_number": "Reproduced: Cover; Mentioned: p. 2", "url": "https://archive.org/details/CMAMM2015-01"}, {"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. 74-75, no. 3", "url": ""}], "url": "https://clevelandart.org/art/2013.47", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.47/2013.47_web.jpg", "width": "641", "height": "900", "filesize": "221937", "filename": "2013.47_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.47/2013.47_print.jpg", "width": "2422", "height": "3400", "filesize": "3343404", "filename": "2013.47_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.47/2013.47_full.tif", "width": "5397", "height": "7577", "filesize": "122710268", "filename": "2013.47_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171051, "creators": [{"id": 63548, "description": "Adrien Victor Auger (French, 1787\u20131854)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1787", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-09-03T00:00:00", "sortable_date": 1808, "date_added_to_oa": null, "date_text": "1808", "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": ["Portrait of the Violinist Jean Vidal (1789-1867)"], "is_highlight": false, "updated_at": "2026-05-01 06:53:25.257000"}, {"id": 162397, "accession_number": "2002.92", "share_license_status": "CC0", "tombstone": "Eva Meurier in a Green Dress, 1891. Maurice Denis (French, 1870\u20131943). Oil on canvas; framed: 72.7 x 56.5 x 6.4 cm (28 5/8 x 22 1/4 x 2 1/2 in.); overall: 55 x 38 cm (21 5/8 x 14 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2002.92", "current_location": null, "title": "Eva Meurier in a Green Dress", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "artists_tags": ["Nabis", "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: 72.7 x 56.5 x 6.4 cm (28 5/8 x 22 1/4 x 2 1/2 in.); Overall: 55 x 38 cm (21 5/8 x 14 15/16 in.)", "dimensions": {"framed": {"height": 0.727, "height_inch": 28, "height_inch_fraction": 0.625, "width": 0.565, "width_inch": 22, "width_inch_fraction": 0.25, "depth": 0.064, "depth_inch": 2, "depth_inch_fraction": 0.5}, "overall": {"height": 0.55, "height_inch": 21, "height_inch_fraction": 0.625, "width": 0.38, "width_inch": 14, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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"}, {"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": [{"description": "CMA (organizer). Beijing World Art Museum, China, May 26 - Aug. 27, 2006; Mori Arts Center, Tokyo, Japan: Sept. 9 - Nov. 26, 2006; Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007; Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008;  Frist Center for the Visual Arts, Nashville, TN, Feb. 21-June 1, 2008; Utah Museum of Fine Arts, Salt Lake City, UT, June 22 - September 21, 2008; and the Detroit Institute of Arts, MI, October 12, 2008 - January 18, 2009:  \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2006-05-26T00:00:00"}]}, "provenance": [{"description": "Maurice Denis; one of his sons until 2002.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Maurice Denis painted this early in his career, when he was only 21.", "description": "Delicate, elegantly folded hands in this painting allude to the sitter\u2019s musical abilities. Eva Meurier, the sister-in-law of the artist, was a talented pianist. Maurice Denis painted the portrait on a fragment of an abandoned picture, hints of which appear around the edges of the composition, as if Eva\u2019s portrait is mysteriously emerging from another painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478465"], "internet_archive": ["https://archive.org/details/clevelandart-2002.92-eva-meurier-in-a-gre"]}, "citations": [{"citation": "\"Off the walls.\"<em> Fine Art Connoisseur </em>18, no.4 (August 2021):128.", "page_number": "Reproduced p.128", "url": ""}, {"citation": "Muse\u0301e Toulouse-Lautrec. <em>Exposition Maurice Denis; peintures, aquarelles, dessins, lithographies, du 28 juin au 29 septembre 1963, Muse\u0301e Toulouse-Lautrec. </em>Albi.1963.", "page_number": "Mentioned: P. 23, cat.no. 14; Reproduced: Pl. 1, cat. no. 14", "url": ""}, {"citation": "Chapin, Mary Weaver. \u201cMusic Chez Soi.\u2019\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, 142-186. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 144; Reproduced: P. 157, no. 83", "url": ""}], "url": "https://clevelandart.org/art/2002.92", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2002.92/2002.92_web.jpg", "width": "625", "height": "900", "filesize": "356893", "filename": "2002.92_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2002.92/2002.92_print.jpg", "width": "2360", "height": "3400", "filesize": "3986210", "filename": "2002.92_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2002.92/2002.92_full.tif", "width": "8199", "height": "11814", "filesize": "290619220", "filename": "2002.92_full.tif"}}, "alternate_images": [{"date_created": "2009-01-29T19:59:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt0_web.jpg", "width": "613", "height": "893", "filesize": "482981"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt0_print.jpg", "width": "2335", "height": "3400", "filesize": "6866164"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt0_full.tif", "width": "3896", "height": "5674", "filesize": "66349796"}}, {"date_created": "2023-10-20T12:53:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt1_web.jpg", "width": "633", "height": "900", "filesize": "309673"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt1_print.jpg", "width": "2392", "height": "3400", "filesize": "3177502"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt1_full.tif", "width": "9024", "height": "12829", "filesize": "347336728"}}, {"date_created": "2023-10-20T12:37:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt2_web.jpg", "width": "708", "height": "900", "filesize": "248738"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt2_print.jpg", "width": "2673", "height": "3400", "filesize": "2583902"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt2_full.tif", "width": "8908", "height": "11330", "filesize": "302812648"}}, {"date_created": "2023-10-20T12:30:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt3_web.jpg", "width": "694", "height": "900", "filesize": "359148"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt3_print.jpg", "width": "2622", "height": "3400", "filesize": "4000999"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt3_full.tif", "width": "9439", "height": "12242", "filesize": "346687592"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162397, "creators": [{"id": 22965, "description": "Maurice Denis (French, 1870\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-12-02T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "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": "2026-05-01 06:52:24.544000"}, {"id": 163547, "accession_number": "2004.87", "share_license_status": "CC0", "tombstone": "Self-Portrait, 1857. Edgar Degas (French, 1834\u20131917). Etching and drypoint; platemark: 23 x 14.5 cm (9 1/16 x 5 11/16 in.); sheet: 31.5 x 22.6 cm (12 3/8 x 8 7/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2004.87", "current_location": null, "title": "Self-Portrait", "creation_date": "1857", "creation_date_earliest": 1857, "creation_date_latest": 1857, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching and drypoint", "support_materials": [{"description": "laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 23 x 14.5 cm (9 1/16 x 5 11/16 in.); Sheet: 31.5 x 22.6 cm (12 3/8 x 8 7/8 in.)", "dimensions": {"sheet": {"height": 0.315, "height_inch": 12, "height_inch_fraction": 0.375, "width": 0.226, "width_inch": 8, "width_inch_fraction": 0.875}, "platemark": {"height": 0.23, "height_inch": 9, "height_inch_fraction": 0.0625, "width": 0.145, "width_inch": 5, "width_inch_fraction": 0.6875}}, "state_of_the_work": "III/IV", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed at lower left, in lithographic crayon: \u00e1 Bartholom\u00e9 / Degas", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 218915, "title": "L'Impressionnisme vu d'Am\u00e9rique", "description": "<i>L'Impressionnisme vu d'Am\u00e9rique</i>. Mus\u00e9e Fabre, Montpellier, France (organizer) (June 9-September 9, 2007); Mus\u00e9e de Grenoble, Grenoble, France (October 6, 2007-January 20, 2008).", "opening_date": "2007-06-09T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 295882, "title": "Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers", "description": "<i>Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers</i>. Philbrook Museum of Art, Tulsa, OK (organizer) (June 9-September 9, 2018).", "opening_date": "2018-06-09T04:00:00"}], "legacy": []}, "provenance": [{"description": "Paul-Albert Bartholom\u00e9", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Cesar M. de Hauke)", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 2}, {"description": "Kimbell Art Foundation, Fort Worth, TX", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 3}, {"description": "(sale, Sotheby's, New York, May 13, 1987, sold to Robert Light)", "citations": [], "footnotes": [], "date": "1987", "sortorder": 4}, {"description": "(Samuel Josefowitz, Lausanne, Switzerland, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "after 1987-by 2004", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2004-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This early self-portrait is especially rare among Edgar Degas's prints, and few impressions are known to exist.", "description": "In the 1850s Degas frequently used himself as a model, but he made only one printed self-portrait. Through successive stages of biting the plate and layers of crosshatching, Degas gradually built areas of dark tone. In this impression, Degas added etched lines on the face, hat, and coat and carefully wiped his copper plate to create atmospheric effects. His clearly drawn eyes directly engage the viewer, resulting in a psychologically powerful and intense portrait of the young artist at age 23. This impression was dedicated to his friend, the painter and sculptor Paul Albert Bartholom\u00e9.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781142"], "internet_archive": ["https://archive.org/details/clevelandart-2004.87-self-portrait"]}, "citations": [{"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 6 (July/August 2005): 6-19.", "page_number": "Mentioned and reproduced: p. 15", "url": "https://archive.org/details/CMAMM2005-06/page/14/mode/2up"}, {"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. 354", "url": ""}, {"citation": "Lees, Sarah, and Richard R. Brettell. <em>Innovative Impressions: Prints by Cassatt, Degas, and Pissarro</em>. Tulsa, Oklahoma : Philbrook Museum of Art, 2018", "page_number": "Reproduced and mentioned: p. 23, fig. 18", "url": null}], "catalogue_raisonne": "Reed and Shapiro 8", "url": "https://clevelandart.org/art/2004.87", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2004.87/2004.87_web.jpg", "width": "525", "height": "900", "filesize": "170839", "filename": "2004.87_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2004.87/2004.87_print.jpg", "width": "1982", "height": "3400", "filesize": "2117735", "filename": "2004.87_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2004.87/2004.87_full.tif", "width": "3617", "height": "6205", "filesize": "67360436", "filename": "2004.87_full.tif"}}, "alternate_images": [{"date_created": "2004-08-24T18:53:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt0_web.jpg", "width": "572", "height": "893", "filesize": "354846"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt0_print.jpg", "width": "2177", "height": "3400", "filesize": "4919922"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt0_full.tif", "width": "3202", "height": "5000", "filesize": "48050144"}}, {"date_created": "2005-12-16T17:12:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt1_web.jpg", "width": "546", "height": "893", "filesize": "334886"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt1_print.jpg", "width": "2080", "height": "3400", "filesize": "4513231"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt1_full.tif", "width": "3046", "height": "4980", "filesize": "45536592"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163547, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1857, "date_added_to_oa": null, "date_text": "1857", "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": "2026-05-01 06:52:32.826000"}, {"id": 161781, "accession_number": "2001.120", "share_license_status": "CC0", "tombstone": "Layered Peaks and Splashing Waterfall: Portrait of Hua Yan as a Young Man (\u5c64\u5d17\u98db\u7011\u5716), 1705. Hua Yan (Chinese, 1682\u2013c. 1765), and Wei Shijie (Chinese, 1667\u2013after 1747). Hanging scroll; ink and color on silk; painting: 130 x 47.2 cm (51 3/16 x 18 9/16 in.); overall: 281 x 95 cm (110 5/8 x 37 3/8 in.). The Cleveland Museum of Art, Gift of various donors by exchange, 2001.120", "current_location": null, "title": "Layered Peaks and Splashing Waterfall: Portrait of Hua Yan as a Young Man", "title_in_original_language": "\u5c64\u5d17\u98db\u7011\u5716", "creation_date": "1705", "creation_date_earliest": 1705, "creation_date_latest": 1705, "artists_tags": ["male"], "culture": ["China, Qing dynasty (1644-1911)"], "technique": "Hanging scroll; ink and color on silk", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Painting: 130 x 47.2 cm (51 3/16 x 18 9/16 in.); Overall: 281 x 95 cm (110 5/8 x 37 3/8 in.)", "dimensions": {"overall": {"height": 2.81, "height_inch": 110, "height_inch_fraction": 0.625, "width": 0.95, "width_inch": 37, "width_inch_fraction": 0.375}, "painting": {"height": 1.3, "height_inch": 51, "height_inch_fraction": 0.1875, "width": 0.472, "width_inch": 18, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u5beb\u7167\u4f59\u975e\u64c5\uff0c\u71df\u5716\u723e\u81ea\u9ad8\u3002/\n\u5076\u7136\u88c1\u5c3a\u5e45\uff0c\u6bcb\u5f85\u8457\u4e09\u8c6a\u3002/\n\u8b77\u5dba\u7b19\u7591\u5fb9\uff0c\u8c50\u8aa0\u528d\u4e14\u97dc\u3002/\n\u61f8\u5d16\u5c0d\u98db\u96ea\uff0c\u5982\u807c\u5ee3\u9675\u6fe4\u3002/\n\n\u58eb\u5091\u70ba\u79cb\u5cb3\u9053\u76df\u4f5c\u5c0f\u5f71\u4e26\u984c\u3002\n[\u5370]\uff1a\u9b4f\u58eb\u5091\uff0c\u5b50\u826f", "inscription_translation": "Poem by Wei Shijie: \n\nI am not so skilled in portraiture;/\nYou are far superior in composing pictures./\nBy chance we had a piece of silk cut to size./\nBut await [a master] with the skill of three strands./ \nShrouding the cliff, the panpipe\u2019s sound seems all-penetrating./ \nWell nourished and sincere, you hide the sword in the shield./\nThe sheer cliffs stand against the flying snow./\nCan we hear the Guanglin tides at all?/\n\nPortrait painted for Qiuyue (Hua Yan) by Shijie.\nSeals: Wei Shijie, Ziliang", "inscription_remark": "In the context of portraiture, \"three strands\" \u4e09\u8c6a likely refers to Gu Kaizhi's \u9867\u6137\u4e4b depicting the likeness of his contemporary Pei Kai \u6590\u6977. By adding three hairs or strands of beard in Pei Kai's cheeks, he was able to accentuate his personal characteristics.", "sortorder": null}, {"inscription": "\u50d5\u81ea\u68c4\u5b64\uff0c\u4e4d\u8a2d\u5df1\u96a8\u56db\u65b9\u3002\u84ec\u6839\u98c4\u96f6\uff0c\u7adf\u6210\u6d69\u5606\u3002\n\n\u5abf\u7aae\u9014\u65bc\u962e\u7c4d\u3002\u5341\u5e74\u6094\u4e0d\u8b80\u66f8\u3002\u7f9e\u554f\u5b57\u4e4b\u4faf\u82ad\u3002\u5343\u91cc\u4f55\u66fe\u8ca0\u7b08\u3002\u800c\u6cc1\u5321\u5eec\u65e2\u9060\u3002\u7a7a\u61d0\u98db\u96ea\u4e4b\u5d16\u3002\u5ef6\u6d25\u672a\u9065\uff0c\u83ab\u8faf\u5316\u9f8d\u4e4b\u528d\u3002\n\n\u6148\u89aa\u5728\u671b\uff0c\u7a7a\u4e8b\u9060\u6e38\u3002\u675c\u5b87\u70ba\u8072\uff0c\u4e0d\u5982\u6b78\u53bb\u3002\u55df\u4e4e\uff0c\u534a\u751f\u5c90\u9014\uff0c\u672a\u514d\u4ea1\u7f8a\u3002\u767e\u5c3a\u7aff\u982d\uff0c\u5982\u4f55\u9032\u6b69\u3002\n\n\u5f9e\u524d\u5b5f\u6d6a\uff0c\u5716\u6b64\u7316\u72c2\u3002", "inscription_translation": "Inscription by Hua Yan: \n\nSince I became an orphan, I set about to travel widely. Like an uprooted man, I was aimless. In the end, all I have left is but to heave a deep sigh./ \n\nWhen compared with Ruan Ji [AD 210\u2013263], I am ashamed to have achieved so little: a full decade I lost for not having studied. Faced with Hou Ba\u2019s [1st century AD] inquisitiveness, I felt inadequate: why didn\u2019t I carry any books with me in my long journeys? Mt. Kuanglu, moreover, is far away; even if I could still see the snow flurries around its peaks in my imagination, what\u2019s the use? But Yanjing is by no means distant; still I am unable to discern a sword that can turn into a dragon./\n\nMy kind mother has been longing for me. It\u2019s utterly senseless that I should travel so far. Listen to the call of the cuckoo; more than ever it is time to return. Alas, I trod many wrong paths in my life. I have become a lost sheep! To improve myself seems like climbing a pole of a hundred feet./ \n\nI was uncouth indeed. You may portray me as a wild eccentric!", "inscription_remark": "Hua's reference to being an orphan likely refers to the death of his father.", "sortorder": null}, {"inscription": "Top inscription on the painting by Jiang Hongdao \u5c07\u5f18\u9053, dated yiyou, the forty-fourth year of the Kangxi era (1705)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Seven additional colophons on the silk mounting", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 293212, "title": "Greeting the Spring (Chinese art rotation, galleries 240a, 239, 241c)", "description": "<i>Greeting the Spring (Chinese art rotation, galleries 240a, 239, 241c)</i>. The Cleveland Museum of Art (organizer) (February 11-August 13, 2017).", "opening_date": "2017-02-11T05:00:00"}, {"id": 336424, "title": "Facing the Ancestors: Chinese Portraits and Figure Painting \u2013 Chinese Gallery Rotation 240a, 241c", "description": "<i>Facing the Ancestors: Chinese Portraits and Figure Painting \u2013 Chinese Gallery Rotation 240a, 241c</i>. The Cleveland Museum of Art (organizer) (August 12, 2019-February 2, 2020).", "opening_date": "2019-08-12T04:00:00"}], "legacy": []}, "provenance": [{"description": "Hua Pinyu \u83ef\u54c1\u7389 (active 1800s)", "citations": [], "footnotes": null, "date": "1800s", "sortorder": 1}, {"description": "(Christie's, New York, Important Classical Chinese Paintings, June 1, 1989 sale, lot 30)", "citations": [], "footnotes": null, "date": "June 1, 1989", "sortorder": 2}, {"description": "Private Collection of a Min Chiu Society \u654f\u6c42\u7cbe\u820d member, Hong Kong", "citations": [], "footnotes": null, "date": "1989?\u20131999?", "sortorder": 3}, {"description": "(Christie's, Hong Kong, Fine Chinese Classical Painting an Calligraphy, April 25, 1999, lot 270)", "citations": [], "footnotes": null, "date": "April 25, 1999", "sortorder": 4}, {"description": "(Kaikodo America Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132001", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2001\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hua Yan's autobiographical inscription, full of remorse and insecurity, is squeezed into the contour of a hill in the upper left.", "description": "This portrait was jointly executed by Wei Shijie and Hua Yan himself who painted the landscape in the background. Hua Yan is shown here at the age of about 23. The sword at his back is a reference to his early desire for a military career, while the scholar\u2019s robe suggests an opposing aspiration. Together these are signs of a complex personality. <br><br>The painting also reveals Hua Yan\u2019s early talent in painting. While Wei Shijie is little known, Hua Yan would later become a well-known painter. In addition to Wei Shijie and Hua Yan, nine of Hua Yan\u2019s contemporary friends left inscriptions on the painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478043"], "internet_archive": ["https://archive.org/details/clevelandart-2001.120-layered-peaks-and-sp"]}, "citations": [{"citation": "Fukunaga, Takehiko \u798f\u6c38\u6b66\u5f65, and Howard L. Rogers. <em>Kinno\u0304,</em> <em>Bunjinga suihen. chiyu\u0304go (9)</em> \u91d1\u8fb2, \u6587\u4eba\u753b\u7c8b\u7de8. \u4e2d\u56fd\u7bc7 9. To\u0304kyo\u0304: Chu\u0304o\u0304koronsha, 1986.", "page_number": "Mentioned: no. 116, pp. 184-185; Reproduced: no. 116, p. 97", "url": null}, {"citation": "Christie's, New York. <em>Important Classical Chinese Paintings. </em>Thursday, June 1, 1989, at 10:00 A.M.", "page_number": "Lot 30", "url": null}, {"citation": "<em>Li dai wen wu cui zhen: Min qiu jing she san shi zhou nian ji nian zhan</em> [\u5386\u4ee3\u6587\u7269\u8403\u73cd: \u654f\u6c42\u7cbe\u820d\u4e09\u5341\u5468\u5e74\u7eaa\u5ff5\u5c55 =  Selected Treasures of Chinese Art, Min Chiu Society Thirtieth Anniversary Exhibition Catalogue]. Hong Kong: Min qiu jing she, 1990.", "page_number": "Reproduced: pl. 47 p. 122", "url": null}, {"citation": "Christie's Hong Kong. <em>Fine classical Chinese paintings and calligraph</em>y. April 25, 1999.", "page_number": "Lot 270", "url": null}, {"citation": "<em>\u201c</em>Worlds of Wonder.\u201d <em>Kaikodo Journal</em>, XX (Autumn 2001).", "page_number": "Mentioned and Reproduced: p. 296, fig. 3", "url": null}, {"citation": "Chou, Ju-hsi and Anita Chung. <em>Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2015.", "page_number": "Reproduced: pp. 440-446", "url": null}], "url": "https://clevelandart.org/art/2001.120", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2001.120/2001.120_web.jpg", "width": "380", "height": "893", "filesize": "240489", "filename": "2001.120_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2001.120/2001.120_print.jpg", "width": "1447", "height": "3400", "filesize": "3170065", "filename": "2001.120_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2001.120/2001.120_full.tif", "width": "2880", "height": "6768", "filesize": "58496452", "filename": "2001.120_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.120/2001.120_alt0_web.jpg", "width": "737", "height": "893", "filesize": "77830"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.120/2001.120_alt0_print.jpg", "width": "1536", "height": "1861", "filesize": "326894"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.120/2001.120_alt0_full.tif", "width": "1536", "height": "1861", "filesize": "338775"}}, {"date_created": "2009-12-09T01:28:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.120/2001.120_alt1_web.jpg", "width": "737", "height": "893", "filesize": "505990"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.120/2001.120_alt1_print.jpg", "width": "2806", "height": "3400", "filesize": "6422611"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.120/2001.120_alt1_full.tif", "width": "5664", "height": "6864", "filesize": "116654028"}}, {"date_created": "2009-12-09T01:29:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.120/2001.120_alt2_web.jpg", "width": "617", "height": "893", "filesize": "414639"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.120/2001.120_alt2_print.jpg", "width": "2349", "height": "3400", "filesize": "5382578"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.120/2001.120_alt2_full.tif", "width": "4720", "height": "6832", "filesize": "96762060"}}], "creditline": "Gift of various donors by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161781, "creators": [{"id": 23570, "description": "Hua Yan (Chinese, 1682\u2013c. 1765)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u83ef\u55a6", "birth_year": "1682", "death_year": "1756", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 41160, "description": "Wei Shijie (Chinese, 1667\u2013after 1747)", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": "\u9b4f\u58eb\u5091", "birth_year": "1667", "death_year": "1747", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2001-12-03T00:00:00", "sortable_date": 1705, "date_added_to_oa": null, "date_text": "1705", "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": ["Portrait of Hua Yan against Mountain Ranges and Waterfalls", "Layered Peaks and Splashing Waterfall: Portrait of Hua Yan as a Young Man \u5c64\u5d17\u98db\u7011\u5716"], "is_highlight": false, "updated_at": "2026-05-01 06:52:20.484000"}, {"id": 313169, "accession_number": "2024.50", "share_license_status": "Copyrighted", "tombstone": "Sulphur Stream in Woods, 1917. Charles Burchfield (American, 1893\u20131967). Watercolor, gouache, cont\u00e9 crayon, and pencil on paper; sheet: 50.8 x 45.7 cm (20 x 18 in.). The Cleveland Museum of Art, Bequest of the Thomas H. Horner and Virginia Jackson Horner Trust, 2024.50, Thomas H. and Virginia Horner Collection", "current_location": null, "title": "Sulphur Stream in Woods", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "watercolor, gouache, cont\u00e9 crayon, and pencil on paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 50.8 x 45.7 cm (20 x 18 in.)", "dimensions": {"sheet": {"height": 0.508, "height_inch": 20, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}, "mount": {"height": 0.51, "height_inch": 20, "height_inch_fraction": 0.0625, "width": 0.463, "width_inch": 18, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "<em>Charles Burchfield. </em>Whitney Museum of American Art, New York (January 11-February 26,1956); Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Art (July 11 - August 19, 1956); Los Angeles County Museum (September 5-October 14, 1956); Phillips Gallery, Washington, DC (November 4 - December 11, 1956); Cleveland Museum of Art (January 3-February 10, 1957)", "opening_date": "1956-01-11T05:00:00Z"}, {"description": "<em>Suddenly I Awoke: The Dream Journals of Charles E. Burchfield. </em>Burchfield Penney Art Center at Buffalo State University, Buffalo, NY (April 13\u2013July 29, 2018).", "opening_date": "2018-04-13T04:00:00Z"}]}, "provenance": [{"description": "Tom Horner, Hudson, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1975\u20132024", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2024-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Burchfield kept journals in which he explained his artworks and the deeply personal symbolism within them.", "description": "Charles Burchfield was fascinated by the bright yellow tones of the sulfurous water\u2014colored by sediment\u2014common in mining areas around Salem. He described the stream seen here as \u201ca twisting ribbon of bright orange, coming out from a twisting rail-fence at my feet . . . I looked at it a long time, wishing . . . I could make an attempt of painting [it].\u201d In the drawing, the stream divides areas of barren yellow at left and lush green at right, suggesting the environmental impact of mining on the eastern Ohio landscape, which continues today as fracking expands in the area.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "<em>Charles Burchfield. </em>Exh. Cat. New York: Whitney Museum of American Art, 1956.", "page_number": "Mentioned: p. 16, no.23", "url": ""}, {"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections.</em> Utica, New York: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: p. 66, no. 359", "url": ""}], "catalogue_raisonne": "Trovato 359", "url": "https://clevelandart.org/art/2024.50", "images": {}, "alternate_images": [], "creditline": "Bequest of the Thomas H. Horner and Virginia Jackson Horner Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 313169, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": "execution", "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-06-03T04:00:00Z", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-05-01 06:53:52.501000"}, {"id": 149090, "accession_number": "1977.24", "share_license_status": "CC0", "tombstone": "Lot and His Daughters, 1631. Jan Georg van Vliet (Dutch, c. 1610\u20131635), after Rembrandt van Rijn (Dutch, 1606\u20131669). Etching and engraving; platemark: 27 x 22.3 cm (10 5/8 x 8 3/4 in.); sheet: 27.9 x 22.8 cm (11 x 9 in.). The Cleveland Museum of Art, L. E. Holden Fund, 1977.24", "current_location": null, "title": "Lot and His Daughters", "creation_date": "1631", "creation_date_earliest": 1626, "creation_date_latest": 1636, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "etching and engraving", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 27 x 22.3 cm (10 5/8 x 8 3/4 in.); Sheet: 27.9 x 22.8 cm (11 x 9 in.)", "dimensions": {"platemark": {"height": 0.27, "height_inch": 10, "height_inch_fraction": 0.625, "width": 0.223, "width_inch": 8, "width_inch_fraction": 0.75}, "sheet": {"height": 0.279, "height_inch": 11, "height_inch_fraction": 0.0, "width": 0.228, "width_inch": 9, "width_inch_fraction": 0.0}}, "state_of_the_work": "II/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 309856, "title": "Prints by Rembrandt and His Circle", "description": "<i>Prints by Rembrandt and His Circle</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-May 25, 1984).", "opening_date": "1984-01-24T05:00:00"}, {"id": 310008, "title": "Real Prints: Reproduction or Invention", "description": "<i>Real Prints: Reproduction or Invention</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-May 17, 1987).", "opening_date": "1987-04-07T04:00:00"}, {"id": 683420, "title": "In Vino Veritas (In Wine, Truth)", "description": "<i>In Vino Veritas (In Wine, Truth)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 7, 2025-January 11, 2026).", "opening_date": "2025-09-07T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Kennedy & Co., New York, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?\u20131977", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "February 23, 1977\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The loosened bodice and escaping bosom of the central female figure likely signaled her lapsed morals to contemporary viewers.", "description": "As a cautionary tale on the dangers of lust and alcohol, the biblical narrative of Lot and his daughters held appeal for artists, but it also raised complex questions about duty, sacrifice, and free will. In Rembrandt van Rijn\u2019s version (etched here by Jan Georg van Vliet), the artist presented us with an inebriated older Lot, whose drunken expression is reminiscent of a patron at a local tavern. His daughters supply alcohol with coarse amusement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929925"], "internet_archive": ["https://archive.org/details/clevelandart-1977.24-lot-and-his-daughter"]}, "citations": [], "catalogue_raisonne": "Dutuit VI.540.1", "url": "https://clevelandart.org/art/1977.24", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.24/1977.24_web.jpg", "width": "730", "height": "893", "filesize": "565981", "filename": "1977.24_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.24/1977.24_print.jpg", "width": "2780", "height": "3400", "filesize": "8510823", "filename": "1977.24_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.24/1977.24_full.tif", "width": "3984", "height": "4872", "filesize": "58264112", "filename": "1977.24_full.tif"}}, "alternate_images": [], "creditline": "L. E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149090, "creators": [{"id": 22604, "description": "Jan Georg van Vliet (Dutch, c. 1610\u20131635)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1610", "death_year": "1635", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 2520, "description": "Rembrandt van Rijn (Dutch, 1606\u20131669)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1606", "death_year": "1669", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1977-02-23T00:00:00", "sortable_date": 1626, "date_added_to_oa": null, "date_text": "1631", "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": "2026-05-01 06:50:56.480000"}, {"id": 151882, "accession_number": "1984.175", "share_license_status": "CC0", "tombstone": "The Waterfalls at Tivoli, 1737. Claude-Joseph Vernet (French, 1714\u20131789). Oil on canvas; framed: 142.5 x 192.5 x 9 cm (56 1/8 x 75 13/16 x 3 9/16 in.); unframed: 123.2 x 172.6 cm (48 1/2 x 67 15/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1984.175", "current_location": "216B French and German", "title": "The Waterfalls at Tivoli", "creation_date": "1737", "creation_date_earliest": 1737, "creation_date_latest": 1737, "artists_tags": ["male"], "culture": ["France, 18th century"], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - French 18th Century", "type": "Painting", "measurements": "Framed: 142.5 x 192.5 x 9 cm (56 1/8 x 75 13/16 x 3 9/16 in.); Unframed: 123.2 x 172.6 cm (48 1/2 x 67 15/16 in.)", "dimensions": {"framed": {"height": 1.425, "height_inch": 56, "height_inch_fraction": 0.125, "width": 1.925, "width_inch": 75, "width_inch_fraction": 0.8125, "depth": 0.09, "depth_inch": 3, "depth_inch_fraction": 0.5625}, "unframed": {"height": 1.232, "height_inch": 48, "height_inch_fraction": 0.5, "width": 1.726, "width_inch": 67, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"fait a Rome par J. Vernet\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).", "opening_date": "1985-04-03T05:00:00"}], "legacy": []}, "provenance": [{"description": "Prince Lucien Bonaparte (1775-1840), Ludlow, England", "citations": [], "footnotes": null, "date": "-1812", "sortorder": null}, {"description": "William Buchanan", "citations": [], "footnotes": null, "date": "By 1815", "sortorder": null}, {"description": "Sale: Lapeyri\u00e8re, Paris, France, March 14, 1825", "citations": [], "footnotes": null, "date": "March 14, 1825", "sortorder": null}, {"description": "Boursault, sold, Paris, May 1832, through H. Artaria to Edmund Higginson", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Edmund Higginson, 1802 - 1871 (Saltmarshe Castle, England) (sold, London, June 4-6, 1846)", "citations": [], "footnotes": null, "date": "1832-1846", "sortorder": null}, {"description": "Lord Charles Vere Townshend, 1785 - 1853, upon his death, held in trust by the estate", "citations": [], "footnotes": null, "date": "-1853", "sortorder": null}, {"description": "Estate of Lord Charles Vere Townshend (sold, London, May 13, 1854);", "citations": [], "footnotes": null, "date": "1853-1854", "sortorder": null}, {"description": "Frost & Reed (London, England), sold to Siegfried Sassoon, 1949", "citations": [], "footnotes": null, "date": "-1949", "sortorder": null}, {"description": "Siegfried Sassoon (sold, Sotheby's, London, 1984, to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1949-1984", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1984-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Likely Vernet's first major work during his study in Rome, this landscape demonstrates his signature style. Vernet preferred and is remembered for marine subjects and water is also a central theme in this painting. Vernet became the predominant French landscape painter of the 18th century, contributing to a long French tradition. While in Rome, he absorbed the Italian tradition of dramatic, rugged landscape paintings, established by Salvador Rosa in the 1600s. This influence is reflected in Vernet's presentation of the craggy rock formations and cascades that made Tivoli, a small town twenty miles east of Rome, famous. Vernet here synthesizes this style with the calmer pastoral mode, more typical of the French landscape tradition, with its roots in the work of Claude Lorrain. Vernet generally inserted elements of humanity in his work, here evident in the touches of civilization in the background and the fishermen in the foreground. Vernet enjoyed considerable popularity, evidenced by the fact that Napoleon's brother Lucien Bonaparte held this painting as a part of his impressive collection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20020203"], "internet_archive": ["https://archive.org/details/clevelandart-1984.175-the-waterfalls-at-ti"]}, "citations": [{"citation": "Choix de gravures\u2026de la galeire de Lucien Bonaparte, 1812, Stanza !V (no. 36).", "page_number": "", "url": ""}, {"citation": "Buchanan, William.<em> Memoirs of Painting: With a Chronological History of the Importation of Pictures by the Great Masters into England Since the French Revolution.</em> London: Printed for R. Ackerman, 1824.", "page_number": "p. 293, no. 172.", "url": ""}, {"citation": "Ingersoll-Smouse, Florence.<em> Joseph Vernet, peintre de marine, 1714-1789; e\u0301tude critique suivie d'un catalogue raisonne\u0301 de son \u0153uvre peint</em>. Paris: E\u0301. Bignou, 1926.", "page_number": "p. 98. No 2055", "url": ""}, {"citation": "Turner, Evan H. \u201cThe Year in Review for 1984.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 2 (1985).", "page_number": "cat. No. 21", "url": "https://www.jstor.org/stable/25159897"}, {"citation": "Dempsey, James H. \u201cThe Annual Report for 1984.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 4 (1985).", "page_number": "cover, p. 242", "url": "https://www.jstor.org/stable/25159905"}, {"citation": "Fine Arts Museums of San Francisco, Pierre Rosenberg, Marion C. Stewart, and Thierry Lefranc\u0327ois.<em> French Paintings 1500-1825, the Fine Arts Museums of San Francisco</em>. San Francisco: The Museum, 1987.", "page_number": "p. 335, fig. 1", "url": ""}, {"citation": "Cleveland Museum of Art, and Alan Chong. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 250", "url": ""}, {"citation": "Ciardi, Roberto Paolo, Antonio Pinelli, and Cinzia Maria Sicca.<em> Pittura toscana e pittura europea nel Secolo dei lumi: atti del convegno, Pisa, Domus galilaeana 3-4 dicembre 1990. </em>Firenze: Studio per edizioni scelte, 1993.", "page_number": "pl. 158", "url": ""}, {"citation": "Rosenberg, Pierre, Renaud Temperini, and Jean-Pierre Caillet. <em>La peinture franc\u0327aise. </em>Paris: Menge\u0300s, 2001.", "page_number": "P. 479", "url": ""}], "url": "https://clevelandart.org/art/1984.175", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1984.175/1984.175_web.jpg", "width": "1254", "height": "893", "filesize": "716771", "filename": "1984.175_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1984.175/1984.175_print.jpg", "width": "3400", "height": "2421", "filesize": "5118705", "filename": "1984.175_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1984.175/1984.175_full.tif", "width": "7000", "height": "4984", "filesize": "104695640", "filename": "1984.175_full.tif"}}, "alternate_images": [{"date_created": "2010-11-16T15:13:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.175/1984.175_alt0_web.jpg", "width": "1201", "height": "893", "filesize": "741388"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.175/1984.175_alt0_print.jpg", "width": "3400", "height": "2528", "filesize": "6225190"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.175/1984.175_alt0_full.tif", "width": "6024", "height": "4480", "filesize": "80990612"}}, {"date_created": "2010-11-16T13:33:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.175/1984.175_alt1_web.jpg", "width": "1191", "height": "893", "filesize": "663178"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.175/1984.175_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "5396229"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.175/1984.175_alt1_full.tif", "width": "6430", "height": "4824", "filesize": "93087632"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151882, "creators": [{"id": 1986, "description": "Claude-Joseph Vernet (French, 1714\u20131789)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1714", "death_year": "1789", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-01-21T00:00:00", "sortable_date": 1737, "date_added_to_oa": null, "date_text": "1737", "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": "2026-05-01 06:51:13.522000"}, {"id": 172539, "accession_number": "2015.38", "share_license_status": "Copyrighted", "tombstone": "Brothers Collecting Shells, 2013. Fidencio Fifield-Perez (Mexican, b. 1990). Color linocut; image: 91.4 x 61 cm (36 x 24 in.); sheet: 101.6 x 67.3 cm (40 x 26 1/2 in.); matted: 116.8 x 86 cm (46 x 33 7/8 in.). The Cleveland Museum of Art, Gift of Friends of the Department of Prints and Drawings, 2015.38. \u00a9 Fidencio Fifield-Perez", "current_location": null, "title": "Brothers Collecting Shells", "creation_date": "2013", "creation_date_earliest": 2013, "creation_date_latest": 2013, "artists_tags": ["Latine and Hispanic Artists", "LGBTQ+ (after 1900)", "male"], "culture": ["Mexico, 21st Century"], "technique": "color linocut", "support_materials": [{"description": "white wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 91.4 x 61 cm (36 x 24 in.); Sheet: 101.6 x 67.3 cm (40 x 26 1/2 in.); Matted: 116.8 x 86 cm (46 x 33 7/8 in.)", "dimensions": {"sheet": {"height": 1.016, "height_inch": 40, "height_inch_fraction": 0.0, "width": 0.673, "width_inch": 26, "width_inch_fraction": 0.5}, "image": {"height": 0.914, "height_inch": 36, "height_inch_fraction": 0.0, "width": 0.61, "width_inch": 24, "width_inch_fraction": 0.0}, "matted": {"height": 1.168, "height_inch": 46, "height_inch_fraction": 0.0, "width": 0.86, "width_inch": 33, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Fidencio Fifield-Perez", "inscriptions": [{"inscription": "Lower left, in graphite: \"EL RIO\"\r\nLower center, in graphite: 5/5\r\nLower right, in graphite: Fidencio Martinez 2013\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 203895, "title": "Fresh Prints: The Nineties to Now", "description": "<i>Fresh Prints: The Nineties to Now</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 22-July 26, 2015).", "opening_date": "2015-03-22T00:00:00"}, {"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": [{"description": "<em>Somewheres and Nowheres: New Prints 2014/Autumn, Selected by Nicola L\u00f3pez. </em>International Print Center, New York (October 25 - December 13, 2014).", "opening_date": "2014-10-25T00:00:00"}]}, "provenance": [{"description": "(Fidencio Fifield-Perez, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2015", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2015-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although the title inscribed on the print reads \"El Rio\" (River), the artist later changed the title to the one seen here.", "description": "Fidencio Fifield-Perez crossed the border from Mexico to the United States as a young boy, and this experience has informed prints such as this one. Two boys, presumably the artist and his brother, stand knee-deep in water, working together to gather shells. In such images, Fidencio-Perez hopes to highlight the everyday lives of immigrants.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80084629"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2015.38", "images": {}, "alternate_images": [], "creditline": "Gift of Friends of the Department of Prints and Drawings", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172539, "creators": [{"id": 65784, "description": "Fidencio Fifield-Perez (Mexican, b. 1990)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1990", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-03-05T00:00:00", "sortable_date": 2013, "date_added_to_oa": null, "date_text": "2013", "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": ["El Rio"], "is_highlight": false, "updated_at": "2026-05-01 06:53:36.128000"}, {"id": 130879, "accession_number": "1953.577", "share_license_status": "Copyrighted", "tombstone": "Dying Sunflowers, 1916. Charles Burchfield (American, 1893\u20131967). Graphite on wove paper, lined. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1953.577. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Dying Sunflowers", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "Graphite on wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {"sheet": {"height": 0.214, "height_inch": 8, "height_inch_fraction": 0.4375, "width": 0.276, "width_inch": 10, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Print Club of Cleveland as a gift for the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield believed that sunflowers looked most alive when they were almost dead.", "description": "Sunflowers were among Burchfield's favorite subjects. He often depicted them anthropomorphically, suggesting either open eyes or, as here, slumped human forms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780924"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: p. 17, no. 16", "url": null}], "url": "https://clevelandart.org/art/1953.577", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130879, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-12-15T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916", "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": "2026-05-01 06:49:14.861000"}, {"id": 103949, "accession_number": "1922.142", "share_license_status": "CC0", "tombstone": "The Climbers (Three Figures from Michelangelo's Battle of Cascina), 1510. Marcantonio Raimondi (Italian, 1470/82\u20131527/34), after Michelangelo Buonarroti (Italian, 1475\u20131564), after Lucas van Leyden (Netherlandish, 1494\u2013about 1533). Engraving; sheet: 28.6 x 22.9 cm (11 1/4 x 9 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1922.142", "current_location": null, "title": "The Climbers (Three Figures from Michelangelo's Battle of Cascina)", "creation_date": "1510", "creation_date_earliest": 1510, "creation_date_latest": 1510, "artists_tags": ["male"], "culture": ["Italy, 16th century"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Sheet: 28.6 x 22.9 cm (11 1/4 x 9 in.)", "dimensions": {"sheet": {"height": 0.286, "height_inch": 11, "height_inch_fraction": 0.25, "width": 0.229, "width_inch": 9, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 344612, "title": "Miscellaneous Prints and Drawings from the Museum Collections", "description": "<i>Miscellaneous Prints and Drawings from the Museum Collections</i>. The Cleveland Museum of Art, Cleveland, OH (June 23-October 23, 1924).", "opening_date": "1924-06-23T04:00:00"}, {"id": 357312, "title": "Prints of the Fifteenth to Twentieth Century from the Museum Collection", "description": "<i>Prints of the Fifteenth to Twentieth Century from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (June 5-September 12, 1934).", "opening_date": "1934-06-05T04:00:00"}, {"id": 345396, "title": "Inaugural Exhibition of the New Print Gallery - Prints from the Museum Collection", "description": "<i>Inaugural Exhibition of the New Print Gallery - Prints from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-November 13, 1938).", "opening_date": "1938-08-10T04:00:00"}, {"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": 355313, "title": "Exhibition of the Month: Ways of Drawing Nudes", "description": "<i>Exhibition of the Month: Ways of Drawing Nudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-June 6, 1945).", "opening_date": "1945-01-30T04:00:00"}, {"id": 301501, "title": "40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (December 3, 1959-January 20, 1960).", "opening_date": "1959-12-03T05:00:00"}, {"id": 304546, "title": "Connoisseurship in Italian Figural Compositions", "description": "<i>Connoisseurship in Italian Figural Compositions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 1980-February 15, 1981).", "opening_date": "1980-10-21T04:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 310008, "title": "Real Prints: Reproduction or Invention", "description": "<i>Real Prints: Reproduction or Invention</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-May 17, 1987).", "opening_date": "1987-04-07T04:00:00"}, {"id": 193792, "title": "Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900", "description": "<i>Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-May 23, 1999).", "opening_date": "1999-03-14T00:00:00"}, {"id": 185234, "title": "Early Italian Engraving: 1460's - 1530's", "description": "<i>Early Italian Engraving: 1460's - 1530's</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 25-October 27, 2002).", "opening_date": "2002-08-25T00:00:00"}, {"id": 288386, "title": "Gods and Heroes: Ancient Legends in Renaissance Art", "description": "<i>Gods and Heroes: Ancient Legends in Renaissance Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-December 31, 2017).", "opening_date": "2017-08-26T04:00:00"}, {"id": 340443, "title": "Master/Apprentice: Imitation and Inspiration in the Renaissance", "description": "<i>Master/Apprentice: Imitation and Inspiration in the Renaissance</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 2019-February 23, 2020).", "opening_date": "2019-10-13T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Although Michelangelo\u2019s 1504 commission to paint the monumental Battle of Cascina fresco in Florence\u2019s city hall was never completed, his cartoon (full-scale drawing) for the composition was studied by many artists in Florence before being destroyed. In this print made just six years after the commission, engraver Marcantonio Raimondi directly quoted three figures from the left side of the cartoon, demonstrating his superior ability in accurately rendering Michelangelo\u2019s heroic male figures. The landscape, which Marcantonio copied from a print by Netherlandish artist Lucas van Leyden, shows his impressive range as a printmaker.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q47533545"], "internet_archive": ["https://archive.org/details/clevelandart-1922.142-the-climbers-three-f"]}, "citations": [{"citation": "Peters, Emily. \u201cMaster/Apprentice: Imitation and Inspiration in the Renaissance.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 5 (September/October 2019): 8-9.", "page_number": "Reproduced: P. 9; Mentioned: P. 8.", "url": "https://archive.org/details/CMAMM2019-05/page/n3/mode/2up"}], "catalogue_raisonne": "Delaborde 196 ", "url": "https://clevelandart.org/art/1922.142", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.142/1922.142_web.jpg", "width": "721", "height": "893", "filesize": "557104", "filename": "1922.142_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.142/1922.142_print.jpg", "width": "2744", "height": "3400", "filesize": "7587564", "filename": "1922.142_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.142/1922.142_full.tif", "width": "4096", "height": "5075", "filesize": "62396276", "filename": "1922.142_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 103949, "creators": [{"id": 4579, "description": "Marcantonio Raimondi (Italian, 1470/82\u20131527/34)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1470", "death_year": "1534", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 1171, "description": "Michelangelo Buonarroti (Italian, 1475\u20131564)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1475", "death_year": "1564", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 22613, "description": "Lucas van Leyden (Netherlandish, 1494\u2013about 1533)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1494", "death_year": "1533", "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1922-05-25T00:00:00", "sortable_date": 1510, "date_added_to_oa": null, "date_text": "1510", "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": ["Battle of Cascina: Three figures from Michelangelo's cartoon, The Climbers"], "is_highlight": false, "updated_at": "2026-05-05 11:11:52.381000"}, {"id": 111369, "accession_number": "1929.874", "share_license_status": "CC0", "tombstone": "The Nightmare, 1832. Honor\u00e9 Daumier (French, 1808\u20131879), Aubert. Lithograph; sheet: 27 x 35.6 cm (10 5/8 x 14 in.); image: 23.3 x 29.4 cm (9 3/16 x 11 9/16 in.). The Cleveland Museum of Art, Gift of Frank S. Lahm, 1929.874", "current_location": null, "title": "The Nightmare", "creation_date": "1832", "creation_date_earliest": 1832, "creation_date_latest": 1832, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 27 x 35.6 cm (10 5/8 x 14 in.); Image: 23.3 x 29.4 cm (9 3/16 x 11 9/16 in.)", "dimensions": {"sheet": {"height": 0.27, "height_inch": 10, "height_inch_fraction": 0.625, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}, "image": {"height": 0.233, "height_inch": 9, "height_inch_fraction": 0.1875, "width": 0.294, "width_inch": 11, "width_inch_fraction": 0.5625}}, "state_of_the_work": "only state", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Below image, printed: Le cauchemar.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Verso, in pencil: TR 2733/1 / Le portrait a celui du general Lafayette Chari...(?) du 23 Fer 1832 / Charicatur has Daumier qui a depuis(?) d'abore(?) Rogelin", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304642, "title": "Human Rights", "description": "<i>Human Rights</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1963-January 12, 1964).", "opening_date": "1963-11-05T05:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}], "legacy": []}, "provenance": [{"description": "Frank S. Lahm, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1929", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1929-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The man in the image is General Lafayette; the pear on top of him represents King Louis-Philippe, showing their uncomfortable relationship.", "description": "This print was published in the journal <em>La Caricature </em>(No. 69) as plate 139.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80003411"], "internet_archive": ["https://archive.org/details/clevelandart-1929.874-the-nightmare"]}, "citations": [], "catalogue_raisonne": "Daumier Register / Delteil 41 ; Hazard-Delteil 249", "url": "https://clevelandart.org/art/1929.874", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.874/1929.874_web.jpg", "width": "1115", "height": "893", "filesize": "682854", "filename": "1929.874_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.874/1929.874_print.jpg", "width": "3400", "height": "2722", "filesize": "5420734", "filename": "1929.874_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.874/1929.874_full.tif", "width": "4844", "height": "3878", "filesize": "56386240", "filename": "1929.874_full.tif"}}, "alternate_images": [], "creditline": "Gift of Frank S. Lahm", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111369, "creators": [{"id": 1638, "description": "Honor\u00e9 Daumier (French, 1808\u20131879)", "extent": null, "qualifier": null, "role": "artist", "biography": "Honor\u00e9 Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Acad\u00e9mie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Z\u00e9pherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honor\u00e9 de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.", "name_in_original_language": null, "birth_year": "1808", "death_year": "1879", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67445, "description": "Aubert", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1929-11-12T00:00:00", "sortable_date": 1832, "date_added_to_oa": null, "date_text": "1832", "collapse_artists": true, "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": ["Caricature, plate 139: The Nightmare"], "is_highlight": false, "updated_at": "2026-05-01 06:47:31.981000"}, {"id": 134853, "accession_number": "1957.408", "share_license_status": "CC0", "tombstone": "Snuff Box (Tabati\u00e8re) with Portrait of Marie Antoinette, 1768. Manufactured by Pierre-Fran\u00e7ois-Mathis de Beaulieu (French), miniatures by Fran\u00e7ois Dumont (French, 1751\u20131831). Watercolor on ivory in a gold and enamel box; image: 3.4 x 2.9 cm (1 5/16 x 1 1/8 in.); overall: 3.9 x 6 cm (1 9/16 x 2 3/8 in.). The Cleveland Museum of Art, Gift of Mrs. Edward B. Greene, 1957.408", "current_location": null, "title": "Snuff Box (Tabati\u00e8re) with Portrait of Marie Antoinette", "creation_date": "1768", "creation_date_earliest": 1768, "creation_date_latest": 1768, "artists_tags": ["male"], "culture": ["France, 18th century"], "technique": "watercolor on ivory in a gold and enamel box", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Enamel", "measurements": "Image: 3.4 x 2.9 cm (1 5/16 x 1 1/8 in.); Overall: 3.9 x 6 cm (1 9/16 x 2 3/8 in.)", "dimensions": {"image": {"height": 0.034, "height_inch": 1, "height_inch_fraction": 0.3125, "width": 0.029, "width_inch": 1, "width_inch_fraction": 0.125}, "overall": {"height": 0.039, "height_inch": 1, "height_inch_fraction": 0.5625, "width": 0.06, "width_inch": 2, "width_inch_fraction": 0.375, "length": 0.082, "length_inch": 3, "length_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "[Maker's mark of Pierre-Fran\u00e7ois-Mathis de Beaulieu, master goldsmith in 1768, inside cover]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[Charge mark of Jean-Jacques Pr\u00e9vot, 1762-1768, inside cover]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[Warden's mark of Paris, 1768-1769, inside cover]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[Discharge mark of Julien Alaterre, Paris, 1768-1774, on neck at right]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[Inside box, the letter]: \"F\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[On bezel at left, engraved number]: \"627\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[On front of bezel, engraved signature]: \"Ve Georges Beaulieu \u00e0 Paris\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[On right of miniature portrait, the letter]: \"D\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311503, "title": "Intimate Images: Portrait Miniatures from Europe and America", "description": "<i>Intimate Images: Portrait Miniatures from Europe and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).", "opening_date": "1993-03-26T04:00:00"}, {"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Edward B. Greene, Cleveland, Ohio.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Marie Antoinette, queen consort of French King Louis XVI and great patron of the decorative arts, was executed in 1793 at the end of the French Revolution.", "description": "This box was created through the collaboration of two skilled and well-known artisans of the period, master goldsmith Pierre-Fran\u00e7ois-Mathis de Beaulieu and celebrated miniature painter Fran\u00e7ois Dumont. The portrait of Marie Antoinette on the box's lid is painted in Dumont\u2019s own style while those on the sides and bottom of the box take inspiration from the work of painter Fran\u00e7ois Boucher, known for his pastoral scenes in the Rococo style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80027554"], "internet_archive": ["https://archive.org/details/clevelandart-1957.408-snuff-box-tabatiere"]}, "citations": [], "url": "https://clevelandart.org/art/1957.408", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1957.408/1957.408_web.jpg", "width": "900", "height": "636", "filesize": "152084", "filename": "1957.408_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1957.408/1957.408_print.jpg", "width": "3400", "height": "2402", "filesize": "1489888", "filename": "1957.408_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1957.408/1957.408_full.tif", "width": "4129", "height": "2917", 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{"url": "https://openaccess-cdn.clevelandart.org/alternate/1957.408/1957.408_alt17_web.jpg", "width": "1147", "height": "893", "filesize": "738828"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1957.408/1957.408_alt17_print.jpg", "width": "3400", "height": "2646", "filesize": "4949483"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1957.408/1957.408_alt17_full.tif", "width": "4278", "height": "3329", "filesize": "42753888"}}], "creditline": "Gift of Mrs. Edward B. Greene", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 134853, "creators": [{"id": 8678, "description": "Pierre-Fran\u00e7ois-Mathis de Beaulieu (French)", "extent": "manufactured by", "qualifier": null, "role": "box by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 1}, {"id": 2568, "description": "Fran\u00e7ois Dumont (French, 1751\u20131831)", "extent": "miniatures by", "qualifier": null, "role": "painter", "biography": null, "name_in_original_language": null, "birth_year": "1751", "death_year": "1831", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1957-10-31T00:00:00", "sortable_date": 1768, "date_added_to_oa": null, "date_text": "1768", "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": ["Box"], "is_highlight": false, "updated_at": "2026-05-01 06:49:33.617000"}, {"id": 109977, "accession_number": "1928.584", "share_license_status": "Copyrighted", "tombstone": "Americana Prints: Stars and Stripes, 1927. Helen Wills Moody (American, 1905\u20131998), Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955). Silk: plain weave, roller printed; overall: 51.4 x 52.1 cm (20 1/4 x 20 1/2 in.). The Cleveland Museum of Art, Gift of the Stehli Silks Corporation, 1928.584", "current_location": "234 Textile Gallery", "title": "Stars and Stripes", "series": "Americana Prints", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "Silk: plain weave, roller printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 51.4 x 52.1 cm (20 1/4 x 20 1/2 in.)", "dimensions": {"overall": {"height": 0.514, "height_inch": 20, "height_inch_fraction": 0.25, "width": 0.521, "width_inch": 20, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 688299, "title": "American Printed Silks, 1927\u20131947", "description": "<i>American Printed Silks, 1927\u20131947</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9, 2025-November 8, 2026).", "opening_date": "2025-11-09T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This roller printed silk design by Helen Wills features small repeating motifs of stars and stripes. Designed in 1928, Stars and Strips was also available in red and white on a dark blue ground. It was part of the Stehli Silks Corporation\u2019s Americana Prints series.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002263"], "internet_archive": []}, "citations": [{"citation": "Mendes, Valerie D. <em>Novelty Fabrics</em>. New York: H.N. Abrams, 1988.", "page_number": "plate 10", "url": ""}, {"citation": "Samuels, Charlotte.<em> Art Deco Textiles</em>. London, New York: V &amp; A ; Distributed by Harry N. Abrams, 2003.", "page_number": "plate 64; p. 11, 19, 85; back cover", "url": ""}], "url": "https://clevelandart.org/art/1928.584", "images": {}, "alternate_images": [], "creditline": "Gift of the Stehli Silks Corporation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Arlene M. and Arthur S. Holden Textile Gallery", "athena_id": 109977, "creators": [{"id": 685207, "description": "Helen Wills Moody (American, 1905\u20131998)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": "Helen Wills was born in the San Francisco Bay area in 1905. She was perhaps best known by her married name, Helen Wills Moody, and was a celebrated American tennis player by the mid-1920s. At the same time, she and other popular female tennis players became influential fashion figures. By the late 1920s, Wills was able to merge her two loves, art and tennis. She wrote and illustrated a book called Tennis (1928). Wills painted all her life, exhibiting her paintings and etchings in New York galleries. Her work was also part of the painting event in the art competition at the 1932 Summer Olympics.", "name_in_original_language": null, "birth_year": "1905", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 47400, "description": "Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Founded in 1837 in Obfelden, Switzerland, by the Stehli family, the original cotton mill transitioned to weaving silk in 1840. By the 1890s, half of the silk produced by Stehli was being shipped to the United States; at that point moving production closer to the customer base made economic sense. Stehli opened their first US mill in Lancaster, Pennsylvania, in 1898 and at the same time established an office in New York City, becoming one of the first American silk manufacturers. By the mid-1920s, Stehli operated five mills in three states\u2014Pennsylvania, Virginia, and North Carolina. In those two decades, Stehli\u2019s business increased fourteen fold. A significant product line was their three Americana Prints series of 1925-1927, under art director and artist Kneeland \u201cRuzzie\u201d Green. In a deliberate attempt to shift the silk industry away from traditional French design, the three series focused on imagery of contemporary American life. Fifteen well-known artists were commissioned to design 86 silk patterns.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1928-10-18T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "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": "2026-05-01 06:47:27.583000"}, {"id": 105052, "accession_number": "1923.274", "share_license_status": "CC0", "tombstone": "Adoration of the Magi, 1513. Lucas van Leyden (Netherlandish, 1494\u2013about 1533). Engraving; sheet: 30.4 x 43.3 cm (11 15/16 x 17 1/16 in.). The Cleveland Museum of Art, Charles W. Harkness Endowment Fund, 1923.274", "current_location": null, "title": "Adoration of the Magi", "creation_date": "1513", "creation_date_earliest": 1513, "creation_date_latest": 1513, "artists_tags": ["male"], "culture": ["Netherlands, 16th century"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Sheet: 30.4 x 43.3 cm (11 15/16 x 17 1/16 in.)", "dimensions": {"sheet": {"height": 0.304, "height_inch": 11, "height_inch_fraction": 0.9375, "width": 0.433, "width_inch": 17, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 344612, "title": "Miscellaneous Prints and Drawings from the Museum Collections", "description": "<i>Miscellaneous Prints and Drawings from the Museum Collections</i>. The Cleveland Museum of Art, Cleveland, OH (June 23-October 23, 1924).", "opening_date": "1924-06-23T04:00:00"}, {"id": 357312, "title": "Prints of the Fifteenth to Twentieth Century from the Museum Collection", "description": "<i>Prints of the Fifteenth to Twentieth Century from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (June 5-September 12, 1934).", "opening_date": "1934-06-05T04:00:00"}, {"id": 356365, "title": "16th Century Prints from the Museum Collection", "description": "<i>16th Century Prints from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 4-29, 1935).", "opening_date": "1935-12-04T05:00:00"}, {"id": 356765, "title": "Seasonal Prints from the Museum Collection", "description": "<i>Seasonal Prints from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 9, 1937-February 27, 1938).", "opening_date": "1937-12-09T05:00:00"}, {"id": 345796, "title": "Prints by Lucas Van Leyden and His Contemporaries", "description": "<i>Prints by Lucas Van Leyden and His Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 28-April 2, 1939).", "opening_date": "1939-02-28T05:00:00"}, {"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": 304516, "title": "Eight Masters of the Print", "description": "<i>Eight Masters of the Print</i>. The Cleveland Museum of Art, Cleveland, OH (October 14, 1980-January 18, 1981).", "opening_date": "1980-10-14T04:00:00"}, {"id": 304542, "title": "Promenades, Pageants, Processions, and Pilgrimages", "description": "<i>Promenades, Pageants, Processions, and Pilgrimages</i>. The Cleveland Museum of Art (organizer) (August 25, 1981-January 3, 1982).", "opening_date": "1981-08-25T04:00:00"}, {"id": 357806, "title": "Prince Salim's Life of Christ (Manuscript Rotation) - Gallery 115", "description": "<i>Prince Salim's Life of Christ (Manuscript Rotation) - Gallery 115</i>. The Cleveland Museum of Art (organizer) (December 2, 2019-July 1, 2020).", "opening_date": "2019-12-02T05:00:00"}], "legacy": []}, "provenance": [{"description": "Alfred Morrison", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Gerstenberg", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Alfred Morrison; Gerstenberg", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "While the arrival of the Magi in the <em>Mirror of Holiness, </em><a href=\"http://www.clevelandart.org/art/2005.145.36.b\"><u>CMA 2005.145.36.b</u></a><u>,</u> is a fairly quiet affair, here the kings enter the holy birthplace with great fanfare, accompanied by a large retinue. A wide variety of costumes, poses, figural types, and facial expressions enhance the theatricality and visual interest of the scene. Particularly luxurious are the costumes of the Magi and the priceless gifts they have brought. Amid the noise and splendor, the infant Jesus is distinguished by the brilliant light that emanates from his head.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781244"], "internet_archive": ["https://archive.org/details/clevelandart-1923.274-adoration-of-the-mag"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 41", "url": "https://archive.org/details/CMAHandbook_80839/page/n43"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 50", "url": "https://archive.org/details/CMAHandbook1928/page/n54"}, {"citation": "Francis, Henry. \"Recent Print Accessions by Lucas Van Leyden.\" <em>The Bulletin of the Cleveland Museum of Art </em>22, no. 9 (November 1935): 142-145", "page_number": "Mentioned: p. 145", "url": "https://www.jstor.org/stable/25137723"}], "catalogue_raisonne": "Hollstein X.89.37 ", "url": "https://clevelandart.org/art/1923.274", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.274/1923.274_web.jpg", "width": "900", "height": "632", "filesize": "349332", "filename": "1923.274_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.274/1923.274_print.jpg", "width": "3400", "height": "2389", "filesize": "4330594", "filename": "1923.274_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.274/1923.274_full.tif", "width": "5679", "height": "3990", "filesize": "68006732", "filename": "1923.274_full.tif"}}, "alternate_images": [], "creditline": "Charles W. Harkness Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 105052, "creators": [{"id": 22613, "description": "Lucas van Leyden (Netherlandish, 1494\u2013about 1533)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1494", "death_year": "1533", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-03-14T00:00:00", "sortable_date": 1513, "date_added_to_oa": null, "date_text": "1513", "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": "2026-05-05 11:11:52.439000"}, {"id": 128287, "accession_number": "1951.277.b", "share_license_status": "CC0", "tombstone": "Eight-Sided Cup (verso), 1513. Wolfgang Huber (Austrian, 1490\u20131553). Charcoal; sheet: 13.1 x 21.2 cm (5 3/16 x 8 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 1951.277.b", "current_location": null, "title": "Eight-Sided Cup (verso)", "creation_date": "1513", "creation_date_earliest": 1513, "creation_date_latest": 1513, "artists_tags": ["male"], "culture": ["Austria"], "technique": "charcoal", "support_materials": [{"description": "cream(3) laid paper, discolored to beige", "watermarks": []}], "department": "Drawings", "collection": "DR - Austrian", "type": "Drawing", "measurements": "Sheet: 13.1 x 21.2 cm (5 3/16 x 8 3/8 in.)", "dimensions": {"sheet": {"height": 0.131, "height_inch": 5, "height_inch_fraction": 0.1875, "width": 0.212, "width_inch": 8, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "verso: by artist?, across entire sheet, in black ink: [Ov]iduss Beschribet gar schon / Von einem Cunig Akteon / Wie er aing mal\u00df wolt jagen thain / jagt hin und da jm Holtze / fand er ein G\u00f6ttin Rein vnd stoltze / Diana / die padet mit jeren junkfrauen / die peg\u00fcnnt er an zu schowen / Da\u00df es sie ser verdross / sy in mit Wasser pegoss / Zw [illegible] Hirschen un wissent / da\u00df jm sin eigen H\u00fcnt zeryssen / Da\u00df er sich zum Hirschen verkert / von seinen Hunden zerrissen zu d[illegible] / Erd [sideways]; upper center, in red chalk: [illegible, crossed out] / adltof.\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "cma 1955c; cma 1958-59; cma 1960b; cma 1966-67a; New Haven et al. 1969-70, 11, 16, 76-77, no. 78, pl. 41; cma 1982-83b; cma 1988b; cma 1993b.", "opening_date": "1955-01-01T00:00:00"}]}, "provenance": [{"description": "Arnold Otto Meyer, Hamburg; [his sale, C. 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Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 40-41; Mentioned: p. 271", "url": ""}], "url": "https://clevelandart.org/art/2020.142", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.142/2020.142_web.jpg", "width": "900", "height": "625", "filesize": "313421", "filename": "2020.142_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.142/2020.142_print.jpg", "width": "3400", "height": "2362", "filesize": "3431554", "filename": "2020.142_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.142/2020.142_full.tif", "width": "11554", "height": "8025", "filesize": "278192288", "filename": "2020.142_full.tif"}}, "alternate_images": [{"date_created": "2020-02-19T12:25:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.142/2020.142_alt0_web.jpg", "width": "900", "height": "625", "filesize": "378716"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.142/2020.142_alt0_print.jpg", "width": "3400", "height": "2362", "filesize": "4566609"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.142/2020.142_alt0_full.tif", "width": "11554", "height": "8025", "filesize": "278192620"}}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 84464, "creators": [{"id": 22502, "description": "Roelant Roghman (Dutch, 1627\u20131692)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1627", "death_year": "1692", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1641, "date_added_to_oa": null, "date_text": "1647", "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": "2026-05-01 06:45:34.547000"}, {"id": 442259, "accession_number": "2020.145", "share_license_status": "CC0", "tombstone": "Zuylen Castle, near Utrecht (recto)/Ruin of the huis Ter Kleef, near Haarlem (verso), 1646. Roelant Roghman (Dutch, 1627\u20131692). Black chalk and wetted charcoal on cream laid paper; image: 30.6 x 43.3 cm (12 1/16 x 17 1/16 in.); sheet: 38.2 x 50.7 cm (15 1/16 x 19 15/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.145", "current_location": null, "title": "Zuylen Castle, near Utrecht (recto)/Ruin of the huis Ter Kleef, near Haarlem (verso)", "creation_date": "1646", "creation_date_earliest": 1641, "creation_date_latest": 1652, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "Black chalk and wetted charcoal on cream laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - Dutch", "type": "Drawing", "measurements": "Image: 30.6 x 43.3 cm (12 1/16 x 17 1/16 in.); Sheet: 38.2 x 50.7 cm (15 1/16 x 19 15/16 in.)", "dimensions": {"image": {"height": 0.306, "height_inch": 12, "height_inch_fraction": 0.0625, "width": 0.433, "width_inch": 17, "width_inch_fraction": 0.0625}, "sheet": {"height": 0.382, "height_inch": 15, "height_inch_fraction": 0.0625, "width": 0.507, "width_inch": 19, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In black ink, recto, lower left: \"R. Roghman (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in black ink, recto, lower right: \"Zuylen\"", "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>. 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Keithley, Cleveland, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 2, 2020", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the 1640s, the artist Roelant Roghman spent two years traveling by foot and drawing manor houses, fortresses, and civic buildings throughout the Netherlands.", "description": "<em>Zuijlen Castle Near Utrecht </em>by Dutch artist Roelant Roghman is one of more than 200 drawings the artist made featuring castles, manor houses, and fortresses during a tour around the Netherlands. The artist traveled on foot to capture the present state of the buildings after a long and protracted war with Spain. He used large sheets of paper and combined ink wash and charcoal, capturing the buildings on the spot and then embellishing each with landscape elements.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481204"], "internet_archive": ["https://archive.org/details/clevelandart-2020.145-zuylen-castle-near-u"]}, "citations": [{"citation": "Peters, Emily. \"Dutch Drawings.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 26-31, 38-41. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 38-39; Mentioned: p. 271", "url": ""}], "url": "https://clevelandart.org/art/2020.145", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.145/2020.145_web.jpg", "width": "624", "height": "900", "filesize": "276391", "filename": "2020.145_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.145/2020.145_print.jpg", "width": "2357", "height": "3400", "filesize": "3573281", "filename": "2020.145_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.145/2020.145_full.tif", "width": "9587", "height": "13830", "filesize": "397790528", "filename": "2020.145_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 442259, "creators": [{"id": 286020, "description": "Roelant Roghman (Dutch, 1627\u20131692)", "extent": null, "qualifier": null, "role": "artist", "biography": "Dutch painter, etcher, and draftsman, baptized 1627, buried 1692", "name_in_original_language": null, "birth_year": "1627", "death_year": "1692", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1641, "date_added_to_oa": null, "date_text": "1646", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "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": "2026-05-01 06:54:15.571000"}, {"id": 88942, "accession_number": "2020.152", "share_license_status": "Copyrighted", "tombstone": "Carved Woodblock Monotypes: Untitled, 1962. David Rabinowitch (Canadian, 1943\u20132024). Color monotype; image and sheet: 21.3 x 19.9 cm (8 3/8 x 7 13/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.152. \u00a9 David Rabinowitch / Artists Rights Society (ARS), New York", "current_location": null, "title": "Untitled", "series": "Carved Woodblock Monotypes", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male"], "culture": ["Canada, 20th century"], "technique": "color monotype", "support_materials": [], "department": "Prints", "collection": "PR - Monotype", "type": "Print", "measurements": "Image and Sheet: 21.3 x 19.9 cm (8 3/8 x 7 13/16 in.)", "dimensions": {"image and sheet": {"height": 0.213, "height_inch": 8, "height_inch_fraction": 0.375, "width": 0.199, "width_inch": 7, "width_inch_fraction": 0.8125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 David Rabinowitch / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed and dated, in pencil, at lower right: David Rabinowitch 1962", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, in pencil, at lower left: 2+1", "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>. 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The artist inked, arranged, and printed woodblocks in different configurations as an attempt to resolve questions of form and space that would define his three-dimensional work of the following decades. Rabinowitch maintained a lifelong interest in materials and allowed the wood's irregular surface to remain visible throughout some of the thickly inked prints.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481012"], "internet_archive": []}, "citations": [{"citation": "Salsbury, Britany. \"French and Canadian Prints and Drawings.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 56-57, 62-63, 166-167. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 166-167; Mentioned: p. 270-271", "url": ""}], "url": "https://clevelandart.org/art/2020.152", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. 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Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 380075, "creators": [{"id": 34437, "description": "David Rabinowitch (Canadian, 1943\u20132024)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1943", "death_year": "2024", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "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": "2026-05-01 06:54:07.159000"}, {"id": 534932, "accession_number": "2022.431", "share_license_status": "CC0", "tombstone": "L'Assommoir: Wedding at the Louvre, 1878. Gaston de Latouche (French, 1854\u20131913), published by Cadart. Drypoint on laid paper; sheet: 23.7 x 28.8 cm (9 5/16 x 11 5/16 in.); platemark: 23 x 25.9 cm (9 1/16 x 10 3/16 in.). The Cleveland Museum of Art, Gift of Bernard Derroitte, 2022.431", "current_location": null, "title": "Wedding at the Louvre", "series": "L'Assommoir", "creation_date": "1878", "creation_date_earliest": 1878, "creation_date_latest": 1878, "artists_tags": ["male"], "culture": ["France"], "technique": "drypoint on laid paper", "support_materials": [{"description": null, "watermarks": []}], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "measurements": "Sheet: 23.7 x 28.8 cm (9 5/16 x 11 5/16 in.); Platemark: 23 x 25.9 cm (9 1/16 x 10 3/16 in.)", "dimensions": {"sheet": {"height": 0.237, "height_inch": 9, "height_inch_fraction": 0.3125, "width": 0.288, "width_inch": 11, "width_inch_fraction": 0.3125}, "platemark": {"height": 0.23, "height_inch": 9, "height_inch_fraction": 0.0625, "width": 0.259, "width_inch": 10, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed, in plate, at lower left: Gaston La Touche", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, in plate, at lower right: 1878", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, in blue pencil, at lower left: l\u2019assommoir", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in pencil, at lower left: La noce au Louvre", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in pencil, at lower right: \u2026Et des si\u00e8cles d\u2019art passaient devant / leur ignorance ahurie", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Watermark: D.C. BLAUW", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 371563, "title": "Degas and the Laundress: Women, Work, and Impressionism", "description": "<i>Degas and the Laundress: Women, Work, and Impressionism</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2023-January 14, 2024).", "opening_date": "2023-10-08T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Bernard Derroitte, Armstrong Fine Art, Chicago, IL), given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 5, 2022-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gaston La Touche completely changed the subjects and style of his work around 1890 and destroyed much of his early work.", "description": "Although his work changed throughout his career, early on Gaston La Touche belonged loosely to the Impressionist circle through his association with \u00c9douard Manet. La Touche explored subjects\u2014such as that seen here\u2014taken from the lives of working-class Parisians. This print represents a scene from naturalist author \u00c9mile Zola\u2019s novel <em>L\u2019Assommoir</em>, which detailed the rise and fall of a laundress named Gervaise. La Touche is said to have collaborated with the author on the imagery and exhibited the entire series at the public Paris Salon in 1879.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117456152"], "internet_archive": ["https://archive.org/details/clevelandart-2022.431-wedding-at-the-louvr"]}, "citations": [{"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Reproduced: p. 193, no. 80", "url": ""}], "catalogue_raisonne": "Fonds Fran\u00e7ais 1", "url": "https://clevelandart.org/art/2022.431", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.431/2022.431_web.jpg", "width": "694", "height": "900", "filesize": "304269", "filename": "2022.431_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.431/2022.431_print.jpg", "width": "2622", "height": "3400", "filesize": "3455849", "filename": "2022.431_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.431/2022.431_full.tif", "width": "8590", "height": "11140", "filesize": "287109204", "filename": "2022.431_full.tif"}}, "alternate_images": [{"date_created": "2023-03-28T11:00:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.431/2022.431_alt0_web.jpg", "width": "694", "height": "900", "filesize": "353469"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.431/2022.431_alt0_print.jpg", "width": "2622", "height": "3400", "filesize": "4576661"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.431/2022.431_alt0_full.tif", "width": "8590", "height": "11140", "filesize": "287109060"}}, {"date_created": "2023-03-28T11:00:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.431/2022.431_alt1_web.jpg", "width": "694", "height": "900", "filesize": "219164"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.431/2022.431_alt1_print.jpg", "width": "2622", "height": "3400", "filesize": "2860289"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.431/2022.431_alt1_full.tif", "width": "8590", "height": "11140", "filesize": "287105288"}}, {"date_created": "2023-03-28T11:01:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.431/2022.431_alt2_web.jpg", "width": "694", "height": "900", "filesize": "381358"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.431/2022.431_alt2_print.jpg", "width": "2622", "height": "3400", "filesize": "5441827"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.431/2022.431_alt2_full.tif", "width": "8590", "height": "11140", "filesize": "287107128"}}], "creditline": "Gift of Bernard Derroitte", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 534932, "creators": [{"id": 534929, "description": "Gaston de Latouche (French, 1854\u20131913)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1854", "death_year": "1913", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67577, "description": "Cadart", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1878, "date_added_to_oa": null, "date_text": "1878", "collapse_artists": true, "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": "2026-05-01 06:54:25.626000"}, {"id": 324553, "accession_number": "2024.51", "share_license_status": "Copyrighted", "tombstone": "Sun Rays and Windy Tree, 1916. Charles Burchfield (American, 1893\u20131967). Watercolor and graphite on paper; sheet: 25.4 x 35.6 cm (10 x 14 in.). The Cleveland Museum of Art, Bequest of the Thomas H. Horner and Virginia Jackson Horner Trust, 2024.51, Thomas H. and Virginia Horner Collection", "current_location": null, "title": "Sun Rays and Windy Tree", "creation_date": "1916", "creation_date_earliest": 1911, "creation_date_latest": 1921, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "watercolor and graphite on paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 25.4 x 35.6 cm (10 x 14 in.)", "dimensions": {"sheet": {"height": 0.254, "height_inch": 10, "height_inch_fraction": 0.0, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Tom Horner, Hudson, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1975\u20132024", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 3, 2024\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Burchfield kept journals in which he explained his artworks and the deeply personal symbolism within them.", "description": "Landscape appealed to Charles Burchfield even at the very beginning of his studies. While working in the Cleveland School of Art\u2019s life drawing studio\u2014a space dedicated to studying the figure from a model\u2014the artist instead focused his attention on the view outside the classroom\u2019s window. In this drawing, a poplar tree appears as a dramatic black column as heavy winds transform its branches. Suggesting the duality of nature, rays of colored light descend from the dark storm clouds above.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections.</em> Utica, New York: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: p. 42, no. 90.", "url": ""}], "catalogue_raisonne": "Trovato 90", "url": "https://clevelandart.org/art/2024.51", "images": {}, "alternate_images": [], "creditline": "Bequest of the Thomas H. Horner and Virginia Jackson Horner Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 324553, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-06-03T04:00:00Z", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1916", "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": "2026-05-01 06:54:00.958000"}, {"id": 673470, "accession_number": "2024.52", "share_license_status": "Copyrighted", "tombstone": "Thunderhead and Sun Rays, 1917. Charles Burchfield (American, 1893\u20131967). Graphite on paper; sheet: 27.8 x 21.6 cm (10 15/16 x 8 1/2 in.); mount: 30.5 x 24.4 cm (12 x 9 5/8 in.). The Cleveland Museum of Art, Bequest of the Thomas H. Horner and Virginia Jackson Horner Trust, 2024.52", "current_location": null, "title": "Thunderhead and Sun Rays", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "graphite on paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 27.8 x 21.6 cm (10 15/16 x 8 1/2 in.); Mount: 30.5 x 24.4 cm (12 x 9 5/8 in.)", "dimensions": {"sheet": {"height": 0.278, "height_inch": 10, "height_inch_fraction": 0.9375, "width": 0.216, "width_inch": 8, "width_inch_fraction": 0.5}, "mount": {"height": 0.305, "height_inch": 12, "height_inch_fraction": 0.0, "width": 0.244, "width_inch": 9, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated, lower right, in graphite: CEB / 1917", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Charles Burchfield: Watercolor and Drawings, 1915-1966. </em>Kennedy Galleries, New York (October 15 \u2013 November 1, 1975).", "opening_date": "1975-10-15T04:00:00Z"}]}, "provenance": [{"description": "Estate of the artist, Buffalo, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Charles Burchfield Foundation, Buffalo, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Kennedy Galleries, New York, NY)", "citations": [], "footnotes": null, "date": "by 1975", "sortorder": 3}, {"description": "Tom Horner, Hudson, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1975\u20132024", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 3, 2024\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Burchfield kept journals in which he explained his artworks and the deeply personal symbolism within them.", "description": "Charles Burchfield considered the period during which this drawing was made his \u201cgolden year.\u201d It followed a time of self-doubt and uncertainty: after graduating from the Cleveland School of Art, Burchfield enrolled in the National Academy of Design in New York City, but dropped out after one day, returning to Salem to work an office job. During his breaks, he sketched incessantly, creating sheets such as this one, which depicted the landscape around him.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "<em>Charles Burchfield: Watercolor and Drawings, 1915-1966. </em>Exh. Cat. New York: Kennedy Galleries, 1975.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2024.52", "images": {}, "alternate_images": [], "creditline": "Bequest of the Thomas H. Horner and Virginia Jackson Horner Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 673470, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-06-03T04:00:00Z", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-05-01 06:55:29.533000"}, {"id": 401127, "accession_number": "2020.276", "share_license_status": "CC0", "tombstone": "Nuova pianta di Roma data in luce da Giambattista Nolli l\u2019anno MDCCXLVII, known as La Pianta Grande di Roma, 1748. Giovanni Battista Nolli (Italian, 1701\u20131756), engraved by Carlo Nolli (Italian, 1690\u20131790), engraved by Rocco Pozzi (Italian, 1701\u20131774), engraved by Pietro Campana de Soriano (Italian, 1725\u2013c. 1779), designed by Stefano Pozzi (Italian, 1699\u20131768). 12 sheets with 4 index sheets. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 2020.276", "current_location": null, "title": "Nuova pianta di Roma data in luce da Giambattista Nolli l\u2019anno MDCCXLVII, known as La Pianta Grande di Roma", "creation_date": "1748", "creation_date_earliest": 1748, "creation_date_latest": 1748, "artists_tags": ["male"], "culture": ["Italy, 18th century"], "technique": "12 sheets with 4 index sheets", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Private Collection, Italy", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "In trade, Rome, Italy", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Piraneseum, Oakland, CA)", "citations": [], "footnotes": null, "date": "?-2020", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 7, 2020", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To make this map, Pope Clement XII granted the mapmaker permission to measure courtyards and other interior, inaccessible spaces in monastic communities, even those in nuns\u2019 convents, which was controversial at the time.", "description": "The monumental <em>Pianta Grande di Roma, </em>or Large Plan of Rome, which measures about 5 x 7 feet when its twelve plates are assembled, is a landmark in both cartography and printmaking. The map is considered the first scientific rendering of Rome, establishing new standards of accuracy and thoroughness when it was published in 1748. Devised by the Lombard architect and surveyor Giovanni Battista Nolli (Italian, 1701-56), the creation of the map required over ten years of surveying the city carried out by Nolli and a team of assistants with the help of new measuring devices. 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Giambattista Nolli and Rome: mapping the city before and after the Pianta grande. 2013.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2020.276.9", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.276.9/2020.276.9_web.jpg", "width": "900", "height": "588", "filesize": "", "filename": "2020.276.9_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.276.9/2020.276.9_print.jpg", "width": "3400", "height": "2221", "filesize": "", "filename": "2020.276.9_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.276.9/2020.276.9_full.tif", "width": "10373", "height": "6777", "filesize": "", "filename": "2020.276.9_full.tif"}}, "alternate_images": [{"date_created": "2020-11-19T11:40:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.276.9/2020.276.9_alt0_web.jpg", "width": "900", "height": "590", "filesize": "210642"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.276.9/2020.276.9_alt0_print.jpg", "width": "3400", "height": "2229", "filesize": "3153855"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.276.9/2020.276.9_alt0_full.tif", "width": "10500", "height": "6884", "filesize": "216871728"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 423517, "creators": [{"id": 401107, "description": "Giovanni Battista Nolli (Italian, 1701\u20131756)", "extent": null, "qualifier": null, "role": "artist", "biography": "Italian engraver and architect, 1701-1756", "name_in_original_language": null, "birth_year": "1701", "death_year": "1756", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 401110, "description": "Carlo Nolli (Italian, 1690\u20131790)", "extent": "engraved by", "qualifier": null, "role": "artist", "biography": "Italian painter and engraver, died after 1770", "name_in_original_language": null, "birth_year": "1690", "death_year": "1790", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 401113, "description": "Rocco Pozzi (Italian, 1701\u20131774)", "extent": "engraved by", "qualifier": null, "role": "artist", "biography": "Italian engraver, 1701-1774", "name_in_original_language": null, "birth_year": "1701", "death_year": "1774", "use_in_caption": true, "include_extent": true, "weight": 3}, {"id": 401117, "description": "Pietro Campana de Soriano (Italian, 1725\u2013c. 1779)", "extent": "engraved by", "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1725", "death_year": "1779", "use_in_caption": true, "include_extent": true, "weight": 4}, {"id": 401121, "description": "Stefano Pozzi (Italian, 1699\u20131768)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": "Italian painter and draftsman, 1699-1768", "name_in_original_language": null, "birth_year": "1699", "death_year": "1768", "use_in_caption": true, "include_extent": true, "weight": 5}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1748, "date_added_to_oa": null, "date_text": "1748", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2020.276", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:54:13.406000"}, {"id": 518331, "accession_number": "2022.87", "share_license_status": "CC0", "tombstone": "Asn\u00e6s Skov, Bay at Kalundborg Fjord, 1839. Johan Thomas Lundbye (Danish, 1818\u20131848). Pen and black ink and gray and brown ink washes with arched framing line in pen and black ink, bordered in pink watercolor on modern cream laid paper; support: 26 x 37.9 cm (10 1/4 x 14 15/16 in.); matted: 36.2 x 48.9 cm (14 1/4 x 19 1/4 in.); image: 19.1 x 30 cm (7 1/2 x 11 13/16 in.). The Cleveland Museum of Art, Alma Kroeger Fund, 2022.87", "current_location": null, "title": "Asn\u00e6s Skov, Bay at Kalundborg Fjord", "creation_date": "1839", "creation_date_earliest": 1839, "creation_date_latest": 1839, "artists_tags": ["male"], "culture": ["Denmark"], "technique": "Pen and black ink and gray and brown ink washes with arched framing line in pen and black ink, bordered in pink watercolor on modern cream laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - Misc. Countries", "type": "Drawing", "measurements": "Support: 26 x 37.9 cm (10 1/4 x 14 15/16 in.); Matted: 36.2 x 48.9 cm (14 1/4 x 19 1/4 in.); Image: 19.1 x 30 cm (7 1/2 x 11 13/16 in.)", "dimensions": {"image": {"height": 0.191, "height_inch": 7, "height_inch_fraction": 0.5, "width": 0.3, "width_inch": 11, "width_inch_fraction": 0.8125}, "support": {"height": 0.26, "height_inch": 10, "height_inch_fraction": 0.25, "width": 0.379, "width_inch": 14, "width_inch_fraction": 0.9375}, "matted": {"height": 0.362, "height_inch": 14, "height_inch_fraction": 0.25, "width": 0.489, "width_inch": 19, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed and signed, black ink, lower left: Landskab ved Kallundborg Fjord. Asn\u00e6s Skov. Dec 1839. Johan Th Lundbye", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, black ink, lower right: 2/1 1840 tilf. Fuldmagtig Secher i Kanders", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Stamped, on verso, black ink, lower left: mark of Kunstforeningen (Lugt 988c)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, ink, lower left: Kunstforeningen K\u00f8benhavn", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, pencil, at center: 2/1 40 [illeg.] Secher", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, pencil, lower right: 10", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Watermark, at center: C&I HONIG / XX", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Johan Thomas Lundbye, sold to the Kunstforeningen, Copenhagen, Denmark", "citations": [], "footnotes": null, "date": "1839", "sortorder": 1}, {"description": "Kunstforeningen Collection, Copenhagen, Denmark", "citations": [], "footnotes": null, "date": "1839-1933", "sortorder": 2}, {"description": "(Kunstforeningen collection sale, V. Winkel & Magnussen, Copenhagen, October 19, 1933, no. 571)", "citations": [], "footnotes": null, "date": "October 19, 1933", "sortorder": 3}, {"description": "Private Collection, Nordjysk, Denmark", "citations": [], "footnotes": null, "date": "1933-2022", "sortorder": 4}, {"description": "(Le Claire Kunst, Hamburg, Germany), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 12, 2022-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Copenhagen\u2019s Kunstforeningen, an exhibition society for contemporary art, purchased this drawing from Lundbye shortly after its creation\u2014a practice meant to extend the organization\u2019s support of artists.", "description": "Johan Thomas Lundbye belonged to the youngest generation of artists working during Denmark\u2019s Golden Age, a period of unprecedented creative activity. This drawing depicts a wooded area on a narrow bay near the town where the artist grew up. Lundbye worked outdoors, directly from nature, aiming to create a work that conveyed his experience of nature. With exacting precision, he conveyed the scene\u2019s solitude and featured a large dolmen, meant to allude to the region\u2019s ancient past.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q115755110"], "internet_archive": ["https://archive.org/details/clevelandart-2022.87-asnaes-skov-bay-at-k"]}, "citations": [{"citation": "<em>Arbejder af Johan Thomas Lundbye: Udstillede I Kunstforeningen I K</em>\u00f8<em>benhavn</em>. Exh. Cat. Copenhagen: Kunstforeningen, 1893", "page_number": "Mentioned: p. 27, no. 178 (possibly)", "url": ""}, {"citation": "Madsen, Karl. <em>Johan Thomas Lundbye, 1818\u20131848</em>. Copenhagen: Kunstforeningen, 1895", "page_number": "Reproduced: p. 64; Mentioned: p. 65", "url": ""}, {"citation": "<em>Fortegnelse over Kunstforeningens Samling af tegninger og akvareller</em>. Copenhagen: V. Winkel &amp; Magnussen, 1933", "page_number": "Mentioned: p. 47, no. 571; Reproduced: p. 25", "url": ""}, {"citation": "Madsen, Karl. <em>Johan Thomas Lundbye, 1818\u20131848</em>. 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Thomas Sutherland (British, 1785\u20131838), after Berardo Galiani (Italian, 1724\u20131774), published by Robert John Thornton (British, 1768\u20131837). Aquatint with engraving; image: 43.1 x 54.5 cm (16 15/16 x 21 7/16 in.); sheet: 49 x 62.7 cm (19 5/16 x 24 11/16 in.). The Cleveland Museum of Art, Gift of Robert Hays Gries, 1959.294", "current_location": null, "title": "Eruption of Mount Vesuvius in 1769", "series": "Botanical Extracts: or, Philosophy of Botany", "creation_date": "1808", "creation_date_earliest": 1803, "creation_date_latest": 1813, "artists_tags": ["male"], "culture": ["England, 18th century"], "technique": "aquatint with engraving", "support_materials": [], "department": "Prints", "collection": "PR - Aquatint", "type": "Print", "measurements": "Image: 43.1 x 54.5 cm (16 15/16 x 21 7/16 in.); Sheet: 49 x 62.7 cm (19 5/16 x 24 11/16 in.)", "dimensions": {"image": {"height": 0.431, "height_inch": 16, "height_inch_fraction": 0.9375, "width": 0.545, "width_inch": 21, "width_inch_fraction": 0.4375}, "sheet": {"height": 0.49, "height_inch": 19, "height_inch_fraction": 0.3125, "width": 0.627, "width_inch": 24, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed, lower left, in margin: Marchese Galiani Pinxt.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, lower center, in margin: 1. City of Naples & its Bay. 2.3 Portici e Resina, et Torre del Greco. 4. Bosco Tre Case. 5 Torre dela Nunziata. 6. Cratere col nuovo Monticello. 7. Atrio del Cavallo. 8. Bosco Reale. / ERUPTION OF MOUNT VESUVIUS IN 1769 / LONDON Published by Dr. Thornton The 1st September 1808.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, lower right, in margin: Sutherland Sculpsit.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 665048, "title": "Imagination in the Age of Reason", "description": "<i>Imagination in the Age of Reason</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 28, 2024-March 2, 2025).", "opening_date": "2024-09-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "Robert Hays Gries [1900\u20131966], Shaker Heights, OH, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?\u20131959", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 19, 1959\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Active volcanoes like Mount Etna and Mount Vesuvius were a popular destination for European tourists visiting Italy in the 1700s.", "description": "With the eruptions of Mount Etna and Mount Vesuvius in the 1700s, volcanoes entered the scientific and popular imagination of Enlightenment Europe. Scientists and philosophers theorized the origins of these spectacular displays; curious tourists visiting Italy wrote home with accounts of burning rivers and destroyed towns. The rediscovery of the ancient sites of Herculaneum and Pompeii, buried by Mount Vesuvius\u2019s eruption in 79 CE, added further fuel to the fire. Attempting to capture the drama of these cataclysmic events, artists innovatively used the tonal range of aquatint and the white of the paper to evoke the dramatic effects of spewing hot lava and burning clouds of volcanic ash.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80029293"], "internet_archive": ["https://archive.org/details/clevelandart-1959.294-eruption-of-mount-ve"]}, "citations": [], "url": "https://clevelandart.org/art/1959.294", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1959.294/1959.294_web.jpg", "width": "900", "height": "714", "filesize": "219443", "filename": "1959.294_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1959.294/1959.294_print.jpg", "width": "3400", "height": "2698", "filesize": "3753462", "filename": "1959.294_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1959.294/1959.294_full.tif", "width": "7212", "height": "5723", "filesize": "123854668", "filename": "1959.294_full.tif"}}, "alternate_images": [], "creditline": "Gift of Robert Hays Gries", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135760, "creators": [{"id": 27179, "description": "Thomas Sutherland (British, 1785\u20131838)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1785", "death_year": "1838", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 674489, "description": "Berardo Galiani (Italian, 1724\u20131774)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1724", "death_year": "1774", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 27182, "description": "Robert John Thornton (British, 1768\u20131837)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "birth_year": "1768", "death_year": "1837", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1959-12-19T00:00:00", "sortable_date": 1803, "date_added_to_oa": null, "date_text": "1808", "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": "2026-05-01 06:49:38.918000"}, {"id": 135761, "accession_number": "1959.295", "share_license_status": "CC0", "tombstone": "Botanical Extracts: or, Philosophy of Botany: Eruption of Mount Aetna in 1669, 1809. Thomas Sutherland (British, 1785\u20131838), after Romagni (Italian?, 17th century?), published by Robert John Thornton (British, 1768\u20131837). Aquatint with engraving; image: 54.4 x 41.4 cm (21 7/16 x 16 5/16 in.); sheet: 57.2 x 41.4 cm (22 1/2 x 16 5/16 in.). The Cleveland Museum of Art, Gift of Robert Hays Gries, 1959.295", "current_location": null, "title": "Eruption of Mount Aetna in 1669", "series": "Botanical Extracts: or, Philosophy of Botany", "creation_date": "1809", "creation_date_earliest": 1804, "creation_date_latest": 1814, "artists_tags": ["male"], "culture": ["England, 18th century"], "technique": "aquatint with engraving", "support_materials": [], "department": "Prints", "collection": "PR - Aquatint", "type": "Print", "measurements": "Image: 54.4 x 41.4 cm (21 7/16 x 16 5/16 in.); Sheet: 57.2 x 41.4 cm (22 1/2 x 16 5/16 in.)", "dimensions": {"image": {"height": 0.544, "height_inch": 21, "height_inch_fraction": 0.4375, "width": 0.414, "width_inch": 16, "width_inch_fraction": 0.3125}, "sheet": {"height": 0.572, "height_inch": 22, "height_inch_fraction": 0.5, "width": 0.414, "width_inch": 16, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed, lower left, in margin: Romagni pinxt", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, lower center, in margin: ERUPTION OF MOUNT AETNA IN 1669.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, lower right, in margin: Sutherland sculp.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 665048, "title": "Imagination in the Age of Reason", "description": "<i>Imagination in the Age of Reason</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 28, 2024-March 2, 2025).", "opening_date": "2024-09-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "Robert Hays Gries [1900\u20131966], Shaker Heights, OH, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?\u20131959", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 19, 1959\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Active volcanoes like Mount Etna and Mount Vesuvius were a popular destination for European tourists visiting Italy in the 1700s.", "description": "With the eruptions of Mount Etna and Mount Vesuvius in the 1700s, volcanoes entered the scientific and popular imagination of Enlightenment Europe. Scientists and philosophers theorized the origins of these spectacular displays; curious tourists visiting Italy wrote home with accounts of burning rivers and destroyed towns. The rediscovery of the ancient sites of Herculaneum and Pompeii, buried by Mount Vesuvius\u2019s eruption in 79 CE, added further fuel to the fire. Attempting to capture the drama of these cataclysmic events, artists innovatively used the tonal range of aquatint and the white of the paper to evoke the dramatic effects of spewing hot lava and burning clouds of volcanic ash.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80029294"], "internet_archive": ["https://archive.org/details/clevelandart-1959.295-eruption-of-mount-ae"]}, "citations": [], "url": "https://clevelandart.org/art/1959.295", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1959.295/1959.295_web.jpg", "width": "668", "height": "900", "filesize": "262383", "filename": "1959.295_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1959.295/1959.295_print.jpg", "width": "2524", "height": "3400", "filesize": "4427487", "filename": "1959.295_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1959.295/1959.295_full.tif", "width": "4543", "height": "6120", "filesize": "83441676", "filename": "1959.295_full.tif"}}, "alternate_images": [], "creditline": "Gift of Robert Hays Gries", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135761, "creators": [{"id": 27179, "description": "Thomas Sutherland (British, 1785\u20131838)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1785", "death_year": "1838", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 674490, "description": "Romagni (Italian?, 17th century?)", "extent": "designed by", "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 27182, "description": "Robert John Thornton (British, 1768\u20131837)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "birth_year": "1768", "death_year": "1837", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1959-12-19T00:00:00", "sortable_date": 1804, "date_added_to_oa": null, "date_text": "1809", "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": "2026-05-01 06:49:38.925000"}, {"id": 161741, "accession_number": "2000.94", "share_license_status": "Copyrighted", "tombstone": "Mexican Art: A Portfolio of People and Places: Silver Mine Worker, 1946. Francisco Mora (Mexican, 1922\u20132002), Taller de Gr\u00e1fica Popular (Mexican, 1937-). Lithograph; sheet: 44.6 x 38.5 cm (17 9/16 x 15 3/16 in.); image: 35 x 28.3 cm (13 3/4 x 11 1/8 in.). The Cleveland Museum of Art, Gift from funds of various donors to the Department of Prints and Drawings, 2000.94. \u00a9  Catlett Mora Family Trust / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Silver Mine Worker", "series": "Mexican Art: A Portfolio of People and Places", "creation_date": "1946", "creation_date_earliest": 1946, "creation_date_latest": 1946, "artists_tags": ["Latine and Hispanic Artists", "male", "gender unknown"], "culture": ["Mexico, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 44.6 x 38.5 cm (17 9/16 x 15 3/16 in.); Image: 35 x 28.3 cm (13 3/4 x 11 1/8 in.)", "dimensions": {"sheet": {"height": 0.446, "height_inch": 17, "height_inch_fraction": 0.5625, "width": 0.385, "width_inch": 15, "width_inch_fraction": 0.1875}, "image": {"height": 0.35, "height_inch": 13, "height_inch_fraction": 0.75, "width": 0.283, "width_inch": 11, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": "edition of 300", "copyright": "\u00a9  Catlett Mora Family Trust / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Signed below image in graphite: - MORA-", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Tobey C. Moss Gallery, Los Angeles, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-2000", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2000-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was part of a portfolio of lithographs by artists associated with the Taller de Gr\u00e1fica Popular, a politically oriented print shop in Mexico City, meant to present their prints to American audiences.", "description": "Francisco Mora frequently depicted Mexican miners, like the one seen here, emphasizing the difficult conditions of their labor. In this print, the backlit figure\u2019s crouched position, narrow eyes, and hollow chest emphasize his exhaustion. The dramatic lighting around the man likewise suggests that his work has created a sense of separation between him and the rest of society. Mora saw printmaking as a way to share social issues, such as the plight of the working poor, with a broader audience and to initiate political change.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984867"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2000.94", "images": {}, "alternate_images": [], "creditline": "Gift from funds of various donors to the Department of Prints and Drawings", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161741, "creators": [{"id": 23045, "description": "Francisco Mora (Mexican, 1922\u20132002)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2002", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 287272, "description": "Taller de Gr\u00e1fica Popular (Mexican, 1937-)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "Mexican printmaking workshop, established 1937", "name_in_original_language": null, "birth_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2000-09-18T00:00:00", "sortable_date": 1946, "date_added_to_oa": null, "date_text": "1946", "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": ["Miner"], "is_highlight": false, "updated_at": "2026-05-01 06:52:20.231000"}, {"id": 385929, "accession_number": "2020.236", "share_license_status": "Copyrighted", "tombstone": "Untitled (Spring Street), 1971. Robin Bruch (American, 1948-). Acrylic on paper; sheet: 35 x 36 cm (13 3/4 x 14 3/16 in.); image: 35 x 36 cm (13 3/4 x 14 3/16 in.). The Cleveland Museum of Art, Gift of Fredericka Hunter and Ian Glennie, 2020.236", "current_location": null, "title": "Untitled (Spring Street)", "creation_date": "1971", "creation_date_earliest": 1971, "creation_date_latest": 1971, "artists_tags": ["female"], "culture": ["America"], "technique": "Acrylic on paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 35 x 36 cm (13 3/4 x 14 3/16 in.); Image: 35 x 36 cm (13 3/4 x 14 3/16 in.)", "dimensions": {"sheet": {"height": 0.35, "height_inch": 13, "height_inch_fraction": 0.75, "width": 0.36, "width_inch": 14, "width_inch_fraction": 0.1875}, "image": {"height": 0.35, "height_inch": 13, "height_inch_fraction": 0.75, "width": 0.36, "width_inch": 14, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, on verso, in graphite: Robin Bruch Spring St. NY \u201971", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Robin Bruch: Full Circle</em>. Texas Gallery, Houston, TX (October 19 \u2013 November 30, 2019).", "opening_date": "2019-11-30T00:00:00"}]}, "provenance": [{"description": "Studio of the artist [1971-2019]", "citations": [], "footnotes": null, "date": "1971-2019", "sortorder": 1}, {"description": "(Texas Gallery, Houston, TX, given to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2019-2020", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Robin Bruch works primarily in the medium used for this drawing: paint on paper.", "description": "Born in Cleveland, contemporary artist Robin Bruch was part of the vibrant and diverse artistic community that emerged in downtown New York City during the 1970s. This drawing dates from that period and features bold colors and simple geometric forms that evoke influences as diverse as Bruch\u2019s teachers, the abstract painters Kenneth Noland and Larry Poons, to the early 20th-century Swedish artist and mystic Hilma af Klint, whose work was an early inspiration. Like many of Bruch\u2019s drawings, the work\u2019s title relates to a specific place, suggesting it was meant to evoke landscape.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244783"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.236", "images": {}, "alternate_images": [], "creditline": "Gift of Fredericka Hunter and Ian Glennie", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 385929, "creators": [{"id": 385926, "description": "Robin Bruch (American, 1948-)", "extent": null, "qualifier": null, "role": "artist", "biography": "American painter, born 1948", "name_in_original_language": null, "birth_year": "1948", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-09-14T00:00:00-04:00", "sortable_date": 1971, "date_added_to_oa": null, "date_text": "1971", "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": "2026-05-01 06:54:08.016000"}, {"id": 401131, "accession_number": "2020.287", "share_license_status": "Copyrighted", "tombstone": "Afrodesia and Mira Gandy, 1971. Dindga McCannon (American, b. 1947). Linocut on Color-aid paper; sheet: 30.5 x 29.2 cm (12 x 11 1/2 in.). The Cleveland Museum of Art, Alma and Robert D. Milne Fund, 2020.287. \u00a9 Dindga McCannon", "current_location": null, "title": "Afrodesia and Mira Gandy", "creation_date": "1971", "creation_date_earliest": 1971, "creation_date_latest": 1971, "artists_tags": ["female", "Black American Artists"], "culture": ["America"], "technique": "linocut on Color-aid paper", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Sheet: 30.5 x 29.2 cm (12 x 11 1/2 in.)", "dimensions": {"sheet": {"height": 0.305, "height_inch": 12, "height_inch_fraction": 0.0, "width": 0.292, "width_inch": 11, "width_inch_fraction": 0.5}}, "state_of_the_work": "Unique", "edition_of_the_work": "5/20", "copyright": "\u00a9 Dindga McCannon", "inscriptions": [{"inscription": "signed and dated, in pencil, at lower right: dindga mccannon 1971; inscribed, in pencil, at lower left: 5/20; inscribed, in pencil, at bottom center: \u201cAfrodesia + Mira Gandy\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 438968, "title": "Women in Print: Recent Acquisitions", "description": "<i>Women in Print: Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 16-June 19, 2022).", "opening_date": "2022-01-16T05:00:00"}], "legacy": []}, "provenance": [{"description": "studio of Dindga McCannon, Philadelphia, PA", "citations": [], "footnotes": null, "date": "1971-2020", "sortorder": 1}, {"description": "(Dolan/Maxwell, Philadelphia, PA, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dindga McCannon studied at the Art Students League in New York, where artist Jacob Lawrence was her mentor.", "description": "Dindga McCannon was an important artist within the Black Arts Movement of the 1960s and 70s and co-founded the artists\u2019 collective WWA (Where We At, Black Women Artists, Inc.) with Kay Brown and Faith Ringgold. Created in the year the group was formed, this print depicts McCannon\u2019s daughter Afrodesia at age four, alongside her friend Mira Gandy, who went on to become an artist herself. McCannon favors printmaking for its ability to reach a broader audience than other media and often uses it to explore themes from the lives of women, such as the one seen here.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246378"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.287", "images": {}, "alternate_images": [], "creditline": "Alma and Robert D. Milne Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 401131, "creators": [{"id": 401129, "description": "Dindga McCannon (American, b. 1947)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1971, "date_added_to_oa": null, "date_text": "1971", "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": "2026-05-01 06:54:12.492000"}, {"id": 438497, "accession_number": "2021.29", "share_license_status": "Copyrighted", "tombstone": "On Duty in Alabama: Soldiers from the 503rd Military Police Division at Fort Bragg, North Carolina, march down a street at Maxwell Air Force Base near Montgomery, Alabama Saturday. They were sent to Alabama for possible use in the Selma-Montgomery march, March 20, 1965, 1965. J. Spencer Jones (American). Gelatin silver print, wirephoto; image: 16.6 x 27.8 cm (6 9/16 x 10 15/16 in.); paper: 16.6 x 27.8 cm (6 9/16 x 10 15/16 in.). The Cleveland Museum of Art, Gift of Michael Mattis and Judith Hochberg, 2021.29", "current_location": null, "title": "On Duty in Alabama: Soldiers from the 503rd Military Police Division at Fort Bragg, North Carolina, march down a street at Maxwell Air Force Base near Montgomery, Alabama Saturday. They were sent to Alabama for possible use in the Selma-Montgomery march, March 20, 1965", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print, wirephoto", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 16.6 x 27.8 cm (6 9/16 x 10 15/16 in.); Paper: 16.6 x 27.8 cm (6 9/16 x 10 15/16 in.)", "dimensions": {"image": {"height": 0.166, "height_inch": 6, "height_inch_fraction": 0.5625, "width": 0.278, "width_inch": 10, "width_inch_fraction": 0.9375}, "paper": {"height": 0.166, "height_inch": 6, "height_inch_fraction": 0.5625, "width": 0.278, "width_inch": 10, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso: \"CVL-AL-186.3 1800\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Newspaper reproduction taped to verso", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Stamped in green ink on newspaper reproduction: \"MAR 20 1965\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 455214, "title": "Photographs in Ink", "description": "<i>Photographs in Ink</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 20, 2022-April 2, 2023).", "opening_date": "2022-11-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Michael Mattis and Judith Hochberg, Scarsdale, NY", "citations": [], "footnotes": [], "date": "?-2021", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 1, 2021", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Despite the Civil Rights Act of 1964 banning racial discrimination in voting, Blacks in southern states were still being denied voting access in 1965.", "description": "Protests demanding equal voting rights for Blacks were met with resistance, arrests, and sometime, violence. Alabama became the focus of these protests, culminating in the famous 54-mile march from Selma to Montgomery led by Dr. Martin Luther King, Jr. on March 21-25, 1965. Press coverage, especially photographs, aroused public awareness and helped lead, five months later, to passage of the national Voting Rights Act, which allowed Black voters to challenge restrictions and greatly strengthened their participation in elections.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246696"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2021.29", "images": {}, "alternate_images": [], "creditline": "Gift of Michael Mattis and Judith Hochberg", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 438497, "creators": [{"id": 438495, "description": "J. Spencer Jones (American)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1942", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-03-01T00:00:00-05:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "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": "2026-05-01 06:54:14.130000"}, {"id": 695601, "accession_number": "2025.194", "share_license_status": "Copyrighted", "tombstone": "Untitled (Potted Plants on a Windowsill), 1909. Karl F. Struss (American, 1886\u20131981). Platinum print; image: 11.5 x 9.4 cm (4 1/2 x 3 11/16 in.); paper: 11.5 x 9.4 cm (4 1/2 x 3 11/16 in.); mounted: 12.6 x 10.6 cm (4 15/16 x 4 3/16 in.). The Cleveland Museum of Art, Gift in Memory of Tom Hinson, from Paul Hertzmann and Susan Herzig, Charles Isaacs and Carol Nigro, and Lauren and Michael Lee, 2025.194", "current_location": null, "title": "Untitled (Potted Plants on a Windowsill)", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["America"], "technique": "platinum print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 11.5 x 9.4 cm (4 1/2 x 3 11/16 in.); Paper: 11.5 x 9.4 cm (4 1/2 x 3 11/16 in.); Mounted: 12.6 x 10.6 cm (4 15/16 x 4 3/16 in.)", "dimensions": {"image": {"height": 0.115, "height_inch": 4, "height_inch_fraction": 0.5, "width": 0.094, "width_inch": 3, "width_inch_fraction": 0.6875}, "paper": {"height": 0.115, "height_inch": 4, "height_inch_fraction": 0.5, "width": 0.094, "width_inch": 3, "width_inch_fraction": 0.6875}, "mounted": {"height": 0.126, "height_inch": 4, "height_inch_fraction": 0.9375, "width": 0.106, "width_inch": 4, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written on verso of mount in pencil: \"STRUSS W2145\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written on verso of mount in pencil: \"P2974KS\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written on recto of image in pencil: \"Karl Struss 1909\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Window Dressing. </em>Parker Stephenson Photographs, New York, NY (May 6\u2013June 30, 2017).", "opening_date": "2017-05-06T04:00:00Z"}]}, "provenance": [{"description": "(Christie\u2019s, New York, NY, 19th and 20th Century Photographs, November 11, 1986, sale 6234, lot 395, sold to?)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Sotheby\u2019s, New York, NY, Photographs, 2003, sale 7925, lot 136, sold to Lee Gallery, Charles Isaacs Photographs Inc., and Paul M. Hertzmann, Inc.)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Paul Hertzmann and Susan Herzig, Charles Isaacs and Carol Nigro, and Lauren and Michael Lee, donated to the Cleveland Museum of Art, 2003-September 8, 2025", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 8, 2025-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pictorialism was the first international movement to insist that photographs could be works of fine art.", "description": "The intimate scale of this vintage platinum print\u20144 \u00bd x 3 \u00be inches\u2014is the result of the artist\u2019s choice of camera and printing process. Platinum prints were prized by the Pictorialist photographers at the beginning of the twentieth century for their delicate tonalities and the control they afforded the artist. These prints are made in direct contact with, and thus are the same size as, the negative.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2025.194", "images": {}, "alternate_images": [], "creditline": "Gift in Memory of Tom Hinson, from Paul Hertzmann and Susan Herzig, Charles Isaacs and Carol Nigro, and Lauren and Michael Lee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 695601, "creators": [{"id": 970, "description": "Karl F. Struss (American, 1886\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karl F. Struss American, 1886-1981\r\n\r\nBorn and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar.\r\n\tA student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915.\r\n\tShortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-09-08T04:00:00Z", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "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": "2026-05-01 06:55:39.784000"}, {"id": 152838, "accession_number": "1985.76", "share_license_status": "Copyrighted", "tombstone": "Terminal Tower, Cleveland, 1928. Margaret Bourke-White (American, 1904\u20131971). Gelatin silver print; image: 33.5 x 25.7 cm (13 3/16 x 10 1/8 in.); paper: 34.4 x 26.1 cm (13 9/16 x 10 1/4 in.); matted: 71.1 x 55.9 cm (28 x 22 in.). The Cleveland Museum of Art, Gift of Max and Betty Ratner, 1985.76. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Terminal Tower, Cleveland", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 33.5 x 25.7 cm (13 3/16 x 10 1/8 in.); Paper: 34.4 x 26.1 cm (13 9/16 x 10 1/4 in.); Matted: 71.1 x 55.9 cm (28 x 22 in.)", "dimensions": {"image": {"height": 0.335, "height_inch": 13, "height_inch_fraction": 0.1875, "width": 0.257, "width_inch": 10, "width_inch_fraction": 0.125}, "paper": {"height": 0.344, "height_inch": 13, "height_inch_fraction": 0.5625, "width": 0.261, "width_inch": 10, "width_inch_fraction": 0.25}, "matted": {"height": 0.711, "height_inch": 28, "height_inch_fraction": 0.0, "width": 0.559, "width_inch": 22, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 309910, "title": "The Year in Review for 1985", "description": "<i>The Year in Review for 1985</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 12-April 20, 1986).", "opening_date": "1986-02-12T05:00:00"}, {"id": 309919, "title": "Progressive Vision: Downtown Cleveland 1903-1930", "description": "<i>Progressive Vision: Downtown Cleveland 1903-1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 10-July 27, 1986).", "opening_date": "1986-06-10T04:00:00"}, {"id": 311732, "title": "Fraternite: Artistic Relations Between France and America", "description": "<i>Fraternite: Artistic Relations Between France and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 21-October 18, 1987).", "opening_date": "1987-07-21T04:00:00"}, {"id": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Margaret Bourke-White established her reputation as a photographer of American industry. Active in Cleveland 1927\u201329, she was repeatedly attracted to the city's most distinctive landmark, Terminal Tower (completed 1927), which was then the second tallest building in the United States. She documented the tower from numerous vantage points, at different times of day, and under varied atmospheric conditions. Her pictures often have a romantic quality achieved through the combination of clouds, steam, and soft focus.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780843"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1985.\" <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 2 (1986): 26-71.", "page_number": "p. 64, no. 64, repr. p. 26", "url": "www.jstor.org/stable/25159930"}, {"citation": "Cleveland Museum of Art, and Tom E. Hinson. Catalogue of Photography. [Cleveland, OH]: The Museum, 1996.", "page_number": "p. 38-39", "url": null}, {"citation": "Witchey, Holly Rarick, and Andrew T. Chakalis. <em>Progressive Vision: The Planning of Downtown Cleveland, 1903-1930</em>. Cleveland, Ohio: Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "cat. no. 106, p. 9", "url": null}], "url": "https://clevelandart.org/art/1985.76", "images": {}, "alternate_images": [], "creditline": "Gift of Max and Betty Ratner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152838, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-05-29T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:51:19.966000"}, {"id": 329324, "accession_number": "2019.7", "share_license_status": "CC0", "tombstone": "Winter Landscape with Skater, 1662. Jan van Kessel (Dutch, 1641\u20131680). Brush and black ink and grey wash over black chalk on cream laid paper; brown ink framing line; sheet: 24 x 31.3 cm (9 7/16 x 12 5/16 in.); matted: 31.1 x 36.5 x 0.5 cm (12 1/4 x 14 3/8 x 3/16 in.); image: 17.9 x 25.8 cm (7 1/16 x 10 3/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2019.7", "current_location": null, "title": "Winter Landscape with Skater", "creation_date": "1662", "creation_date_earliest": 1662, "creation_date_latest": 1662, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "brush and black ink and grey wash over black chalk on cream laid paper; brown ink framing line", "support_materials": [], "department": "Drawings", "collection": "DR - Dutch", "type": "Drawing", "measurements": "Sheet: 24 x 31.3 cm (9 7/16 x 12 5/16 in.); Matted: 31.1 x 36.5 x 0.5 cm (12 1/4 x 14 3/8 x 3/16 in.); Image: 17.9 x 25.8 cm (7 1/16 x 10 3/16 in.)", "dimensions": {"image": {"height": 0.179, "height_inch": 7, "height_inch_fraction": 0.0625, "width": 0.258, "width_inch": 10, "width_inch_fraction": 0.1875}, "sheet": {"height": 0.24, "height_inch": 9, "height_inch_fraction": 0.4375, "width": 0.313, "width_inch": 12, "width_inch_fraction": 0.3125}, "matted": {"height": 0.311, "height_inch": 12, "height_inch_fraction": 0.25, "width": 0.365, "width_inch": 14, "width_inch_fraction": 0.375, "depth": 0.005, "depth_inch": 0, "depth_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "recto, signed and date lower left in pen and black ink: JKesssel 1662", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "verso, inscribed in graphite, lower right: Jan van Kessel 16(0?)8-1698", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "verso, in lower left border (cut off and covered with hinge) [letters} 03 S", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Private Collection, Amsterdam, Netherlands", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 4, 2019", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Frozen canals in 17th-century Holland were a mainstay of entertainment for skaters like the one seen in this drawing, providing access from town to town like roads.", "description": "In this drawing, the Dutch landscape painter Jan van Kessel depicted a rustic rural scene showing rundown sheds beside a frozen canal with a small village church beyond. A skater glides under an overgrown stone bridge. Such rural landscape scenes, considered fundamentally Dutch, became the focus of the Dutch landscape school in the 17th century. Van Kessel was also noted for his trees; the central tree in this image was rendered with black chalk and grey ink wash to create a gently shimmering effect.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79876014"], "internet_archive": ["https://archive.org/details/clevelandart-2019.7-winter-landscape-wit"]}, "citations": [{"citation": "Davies, Alice I. Jan Van Kessel (1641-1680). Doornspijk, the Netherlands: Davaco, 1992.", "page_number": null, "url": null}, {"citation": "Peters, Emily. \u201cAcquisitions 2019: Drawings.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 20-21.", "page_number": "Reproduced: P. 21; Mentioned: P. 20, 21.", "url": ""}], "url": "https://clevelandart.org/art/2019.7", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.7/2019.7_web.jpg", "width": "900", "height": "636", "filesize": "300829", "filename": "2019.7_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.7/2019.7_print.jpg", "width": "3400", "height": "2402", "filesize": "2686797", "filename": "2019.7_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.7/2019.7_full.tif", "width": "5743", "height": "4058", "filesize": "69947192", "filename": "2019.7_full.tif"}}, "alternate_images": [{"date_created": "2019-02-07T10:53:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.7/2019.7_alt0_web.jpg", "width": "900", "height": "638", "filesize": "196432"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.7/2019.7_alt0_print.jpg", "width": "3400", "height": "2409", "filesize": "1959371"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.7/2019.7_alt0_full.tif", "width": "5726", "height": "4057", "filesize": "69719084"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 329324, "creators": [{"id": 329321, "description": "Jan van Kessel (Dutch, 1641\u20131680)", "extent": null, "qualifier": null, "role": "artist", "biography": "Dutch painter, 1641-1680", "name_in_original_language": null, "birth_year": "1641", "death_year": "1680", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1662, "date_added_to_oa": null, "date_text": "1662", "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": "2026-05-01 06:54:01.312000"}, {"id": 148663, "accession_number": "1976.122", "share_license_status": "CC0", "tombstone": "View of the Villa Borghese and its Orangerie from the Villa Medici, 1826. Frederic Bourgeois de Mercey (French, 1805\u20131860). Graphite; sheet: 17.2 x 28.2 cm (6 3/4 x 11 1/8 in.). The Cleveland Museum of Art, Gift of the Womens Council of the Cleveland Museum of Art, 1976.122", "current_location": null, "title": "View of the Villa Borghese and its Orangerie from the Villa Medici", "creation_date": "1826", "creation_date_earliest": 1826, "creation_date_latest": 1826, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite", "support_materials": [{"description": "blued-white modern laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 17.2 x 28.2 cm (6 3/4 x 11 1/8 in.)", "dimensions": {"sheet": {"height": 0.172, "height_inch": 6, "height_inch_fraction": 0.75, "width": 0.282, "width_inch": 11, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "by artist, lower right, in graphite: Rome, Juin 1826 ; VERSO, upper right, in graphite: 3[9?] / 4W / TONG. / 33", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302374, "title": "Year in Review, 1976", "description": "<i>Year in Review, 1976</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).", "opening_date": "1977-02-01T05:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 310038, "title": "The Graphic Art of the Barbizon School", "description": "<i>The Graphic Art of the Barbizon School</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-May 17, 1987).", "opening_date": "1987-03-17T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}], "legacy": [{"description": "CMA, French Drawings from the Collection (Dec. 13, 1994-Mar. 12, 1995).", "opening_date": "1994-12-13T00:00:00"}, {"description": "CMA, Views of Rome from the Permanent Collection (to complement the exh. Views of Rome: Watercolors and Drawings from the Vatican Library, held at the CMA Nov. 1, 1988-Jan. 8, 1989), no. 34.", "opening_date": "1988-11-01T00:00:00"}, {"description": "CMA, The Graphic Art of the Barbizon School (Mar. 17-May 17, 1987).", "opening_date": "1987-03-17T00:00:00"}, {"description": "CMA, The Lessons of the Academy (Feb. 8-May 29, 1983).", "opening_date": "1983-02-08T00:00:00"}, {"description": "CMA, Year in Review for 1976 (Feb.-Mar. 6, 1977), cma Bulletin 64 (1977), p. 76 no. 80.", "opening_date": "1977-03-06T00:00:00"}]}, "provenance": [{"description": "Estate of the artist (stamped, lower right, in brown ink: ATELIER / * / F. DE MERCEY [inside an oval border] (not in Lugt, but see Lugt Suppl. 1808e for the artist). [Adolph Stein]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The Villa Borghese and its grounds was a familiar sight to French artists because it bordered the Villa Medici, which housed the French Academy beginning in 1803. Both of these grand residences were located on Il Pincio, one of the seven hills of Rome. The term villa in the title refers to a princely house set in large gardens. An orangerie was an early type of greenhouse used to shelter tender plants, especially oranges, during the winter months.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79928983"], "internet_archive": ["https://archive.org/details/clevelandart-1976.122-view-of-the-villa-bo"]}, "citations": [], "url": "https://clevelandart.org/art/1976.122", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.122/1976.122_web.jpg", "width": "1263", "height": "796", "filesize": "605660", "filename": "1976.122_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.122/1976.122_print.jpg", "width": "3400", "height": "2143", "filesize": "5027779", "filename": "1976.122_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.122/1976.122_full.tif", "width": "6204", "height": "3911", "filesize": "72817212", "filename": "1976.122_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Womens Council of the Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148663, "creators": [{"id": 22456, "description": "Frederic Bourgeois de Mercey (French, 1805\u20131860)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1805", "death_year": "1860", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-12-09T00:00:00", "sortable_date": 1826, "date_added_to_oa": null, "date_text": "1826", "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": "2026-05-01 06:50:53.609000"}, {"id": 536414, "accession_number": "2023.20", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1958. Eva Hesse (American, 1936\u20131970). Etching; platemark: 14.8 x 10.7 cm (5 13/16 x 4 3/16 in.); sheet: 20 x 18.4 cm (7 7/8 x 7 1/4 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 2023.20", "current_location": null, "title": "Untitled", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["Jewish artists", "female"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 14.8 x 10.7 cm (5 13/16 x 4 3/16 in.); Sheet: 20 x 18.4 cm (7 7/8 x 7 1/4 in.)", "dimensions": {"platemark": {"height": 0.148, "height_inch": 5, "height_inch_fraction": 0.8125, "width": 0.107, "width_inch": 4, "width_inch_fraction": 0.1875}, "sheet": {"height": 0.2, "height_inch": 7, "height_inch_fraction": 0.875, "width": 0.184, "width_inch": 7, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": "unique proof", "copyright": null, "inscriptions": [{"inscription": "In graphite, recto, lower right: \"Eva Hesse 1958 (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Recto, lower left: faint inscription now erased [indecipherable]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "In graphite, verso: \"Hesse 0437\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Estate of Eva Hesse", "citations": [], "footnotes": null, "date": "1970-2023", "sortorder": 1}, {"description": "(Hauser & Wirth, New York, NY), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2023", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2023-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print is notable in that Eva Hesse signed and dated it, suggesting that the artist felt it to be a particularly important and finished work.", "description": "This print is one of numerous etchings made early on by the post-minimalist artist Eva Hesse, otherwise known for sculptures created using unusual, organic materials including rubber, plastic, and rope. Early graphic works such as this unique print informed Hesse\u2019s later three-dimensional work in their layered forms and weightless movement. The artist typically printed in only one or a few impressions, despite printmaking\u2019s ability to create multiples.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117447736"], "internet_archive": []}, "citations": [{"citation": "<em>Eva Hesse Drawings, </em>online (New York: Hauser &amp; Wirth, 2023), no. D 222", "page_number": "", "url": "https://evahesse.hauserwirthinstitute.org/hesse/artworks/detail?title=etching&a=20460-no-title"}], "catalogue_raisonne": "D 222", "url": "https://clevelandart.org/art/2023.20", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 536414, "creators": [{"id": 29053, "description": "Eva Hesse (American, 1936\u20131970)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1936", "death_year": "1970", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2023-03-06T05:00:00Z", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "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": "1", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:54:26.050000"}, {"id": 122990, "accession_number": "1943.257", "share_license_status": "CC0", "tombstone": "Eighteen Views of Rome: The Piazza Farnese (recto); Cartouche (verso), 1664. Lievin Cruyl (Flemish, c. 1640-c. 1720). Pen and brown ink and brush and gray and blue wash over graphite; squared in graphite (two figures in the foreground); framing lines in brown ink; sheet: 38.7 x 49 cm (15 1/4 x 19 5/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1943.257", "current_location": null, "title": "Eighteen Views of Rome: The Piazza Farnese (recto); Cartouche (verso)", "creation_date": "1664", "creation_date_earliest": 1664, "creation_date_latest": 1664, "artists_tags": ["male"], "culture": ["Flanders"], "technique": "pen and brown ink and brush and gray and blue wash over graphite; squared in graphite (two figures in the foreground); framing lines in brown ink", "support_materials": [], "department": "Drawings", "collection": "DR - Flemish", "type": "Drawing", "measurements": "Sheet: 38.7 x 49 cm (15 1/4 x 19 5/16 in.)", "dimensions": {"sheet": {"height": 0.387, "height_inch": 15, "height_inch_fraction": 0.25, "width": 0.49, "width_inch": 19, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "recto: signed, lower right, in brown ink: [artist's monogram: LC] inv. et delin. / 1664. ; by artist, upper center, in brown ink: Prospetto della Piazza Farnesia. ; by artist, througout composition, in brown ink: [the letters A-D] ; by artist, lower left, in brown ink: A. Palatium Farnesiorum. B. Duo Fontes aream anteriorem mundantes. / C. Oratorium S. Brigitte Nationis Sweci\u00e6 / D. Palatium Em: Cardinalis Antonij Barberini.\r\nverso: ON STRIPS OF PAPER MOUNTED TO PERIMETER, lower center, in graphite: A20971 ; lower right, in graphite: E. 1", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361205, "title": "Watercolors by the Masters: D\u00fcrer to C\u00e9zanne", "description": "<i>Watercolors by the Masters: D\u00fcrer to C\u00e9zanne</i>. Minneapolis Institute of Art, Minneapolis, MN (organizer) (May 1-June 15, 1952).", "opening_date": "1952-05-01T04:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 515987, "title": "Queen Christina of Sweden", "description": "<i>Queen Christina of Sweden</i>. Nationalmuseum, Stockholm, Sweden (organizer) (June 29-October 16, 1966).", "opening_date": "1966-06-29T04:00:00"}, {"id": 441437, "title": "Views of Rome", "description": "<i>Views of Rome</i>. American Academy in Rome, Rome, Italy (organizer) (October 13-November 20, 1989).", "opening_date": "1989-10-13T04:00:00"}, {"id": 311462, "title": "Concept, Dogma and Feeling: Italian Drawings 1550-1650", "description": "<i>Concept, Dogma and Feeling: Italian Drawings 1550-1650</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 20, 1991).", "opening_date": "1991-08-27T04:00:00"}, {"id": 340443, "title": "Master/Apprentice: Imitation and Inspiration in the Renaissance", "description": "<i>Master/Apprentice: Imitation and Inspiration in the Renaissance</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 2019-February 23, 2020).", "opening_date": "2019-10-13T04:00:00"}], "legacy": [{"description": "<em>Watercolors by the Masters: D\u00fcrer to C\u00e9zanne</em>. Minneapolis Institute of Arts (May 1 - June 15, 1952).", "opening_date": "1952-05-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Flemish artist Lieven Cruyl made a number of drawings of emblematic vistas of Rome for the Roman publisher Giovanni Battista de Rossi, of which ten were published as etchings in 1666. <em>The Piazza Farnese</em> features architecture designed by Michelangelo, who completed the Palazzo Farnese after the death of its original designer, Antonio da Sangallo, in 1546. His main contribution was the third story and the significantly protruding cornice at the top of the facade, which dramatically hangs over the front of the building, like sculpture.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80019568"], "internet_archive": ["https://archive.org/details/clevelandart-1943.257-eighteen-views-of-ro"]}, "citations": [{"citation": "<em>Watercolors by the Masters: D\u00fcrer to C\u00e9zanne</em>. Exh. Cat. Minneapolis: Minneapolis Institute of Arts, 1952.", "page_number": "Mentioned: no. 19", "url": null}], "url": "https://clevelandart.org/art/1943.257", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.257/1943.257_web.jpg", "width": "900", "height": "350", "filesize": "195905", "filename": "1943.257_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.257/1943.257_print.jpg", "width": "3400", "height": "1324", "filesize": "1770196", "filename": "1943.257_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.257/1943.257_full.tif", "width": "12738", "height": "4960", "filesize": "189566188", "filename": "1943.257_full.tif"}}, "alternate_images": [{"date_created": "2010-12-03T13:15:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.257/1943.257_alt0_web.jpg", "width": "900", "height": "708", "filesize": "250210"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.257/1943.257_alt0_print.jpg", "width": "3400", "height": "2673", "filesize": "3208690"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.257/1943.257_alt0_full.tif", "width": "6308", "height": "4960", "filesize": "93890808"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122990, "creators": [{"id": 12435, "description": "Lievin Cruyl (Flemish, c. 1640-c. 1720)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1640", "death_year": "1720", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-06-02T00:00:00", "sortable_date": 1664, "date_added_to_oa": null, "date_text": "1664", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Piazza Farnese"], "is_highlight": false, "updated_at": "2026-05-01 06:48:28.544000"}, {"id": 157194, "accession_number": "1993.8", "share_license_status": "CC0", "tombstone": "Skeletons, also known as Allegory of Death and Fame, 1518. Agostino Veneziano (Italian, 1490\u20131540), after Rosso Fiorentino (Italian, 1494\u20131540). Engraving; sheet: 30.9 x 50.8 cm (12 3/16 x 20 in.); secondary support: 41.2 x 61.2 cm (16 1/4 x 24 1/8 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1993.8", "current_location": null, "title": "Skeletons, also known as Allegory of Death and Fame", "creation_date": "1518", "creation_date_earliest": 1518, "creation_date_latest": 1518, "artists_tags": ["male"], "culture": ["Italy, 16th century"], "technique": "engraving", "support_materials": [{"description": "cream(1) laid paper, perimeter mounted to cream(3) laid paper (Chatsworth mount)", "watermarks": []}], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Sheet: 30.9 x 50.8 cm (12 3/16 x 20 in.); Secondary Support: 41.2 x 61.2 cm (16 1/4 x 24 1/8 in.)", "dimensions": {"sheet": {"height": 0.309, "height_inch": 12, "height_inch_fraction": 0.1875, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}, "secondary support": {"height": 0.412, "height_inch": 16, "height_inch_fraction": 0.25, "width": 0.612, "width_inch": 24, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower left, in plate: \u00b7AUGUSTINUS\u00b7 / \u00b7VENETUS\u00b7DE\u00b7 / \u00b7MUSIS\u00b7 / FACIBAT\u00b7 / 1518\u00b7 / \u00b7A\u00b7V\u00b7 ; lower left, in pen and brown ink: J. 62.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 189312, "title": "Mannerism: Italian, French, and Netherlandish Prints, 1520-1620", "description": "<i>Mannerism: Italian, French, and Netherlandish Prints, 1520-1620</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 3-October 26, 1997).", "opening_date": "1997-08-03T00:00:00"}, {"id": 185234, "title": "Early Italian Engraving: 1460's - 1530's", "description": "<i>Early Italian Engraving: 1460's - 1530's</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 25-October 27, 2002).", "opening_date": "2002-08-25T00:00:00"}, {"id": 205152, "title": "The Novel and the Bizarre: Salvator Rosa\u2019s Scenes of Witchcraft", "description": "<i>The Novel and the Bizarre: Salvator Rosa\u2019s Scenes of Witchcraft</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 15-June 14, 2015).", "opening_date": "2015-02-15T00:00:00"}, {"id": 340443, "title": "Master/Apprentice: Imitation and Inspiration in the Renaissance", "description": "<i>Master/Apprentice: Imitation and Inspiration in the Renaissance</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 2019-February 23, 2020).", "opening_date": "2019-10-13T04:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; August 25-October 27, 2002.  \"Early Italian Engravings: 1460s - 1530s.\"", "opening_date": "2002-08-25T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; 8/3/97 - 10/26/97.  \"Mannerism:  Italian, French, and Netherlandish Prints, 1520-1620.\"", "opening_date": "1997-08-03T00:00:00"}, {"description": "The Cleveland Museum of Art (2/15/2015 - 6/14/2015); \"The Novel and the Bizarre: Salvator Rosa's Scenes of Witchcraft\"", "opening_date": "2015-02-15T00:00:00"}]}, "provenance": [{"description": "Sir Peter Lely (1618-1680), London, stamp (Lugt 2092), lower center, in black ; Duke of Devonshire, Chatsworth, sold: Christie's, London, Dec. 5, 1985, lot 71, repr. ; purchased from (R.M. Light & Co., Santa Barbara, CA)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Although for centuries scholars have attempted to understand the allegorical meaning of this print, 16th-century artist and author Giorgio Vasari described it simply as \u201can anatomy of desiccated nudes and of bones of the dead.\u201d A central figure of winged Death stands over an interred skeleton, surrounded by a variety of skeletal and living human figures who appear to debate the fate of the soul. At far left is a \u201cmarasmic\u201d man, a type of sun-dried body used by anatomists to study the muscles without removing the skin. Rosso Fiorentino, who designed the composition of this print to be engraved by Agostino Veneziano, was a Florentine contemporary of Michelangelo who planned a book on anatomy that was never published.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79947640"], "internet_archive": ["https://archive.org/details/clevelandart-1993.8-skeletons-also-known"]}, "citations": [{"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. 164", "url": "http://www.jstor.org/stable/25161457"}], "catalogue_raisonne": "Bartsch 424 ( XIV.320) ; Passavant VI. 60.93", "url": "https://clevelandart.org/art/1993.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1993.8/1993.8_web.jpg", "width": "1263", "height": "769", "filesize": "768795", "filename": "1993.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1993.8/1993.8_print.jpg", "width": "3400", "height": "2069", "filesize": "5848589", "filename": "1993.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1993.8/1993.8_full.tif", "width": "5946", "height": "3619", "filesize": "64589720", "filename": "1993.8_full.tif"}}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157194, "creators": [{"id": 4589, "description": "Agostino Veneziano (Italian, 1490\u20131540)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1490", "death_year": "1540", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 4592, "description": "Rosso Fiorentino (Italian, 1494\u20131540)", "extent": null, "qualifier": "after", "role": "a design by", "biography": null, "name_in_original_language": null, "birth_year": "1494", "death_year": "1540", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1993-02-17T00:00:00", "sortable_date": 1518, "date_added_to_oa": null, "date_text": "1518", "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": "2026-05-01 06:51:46.871000"}, {"id": 146211, "accession_number": "1972.10", "share_license_status": "CC0", "tombstone": "Lions and Tigers in Peony and Bamboo (\u7261\u4e39\u306b\u5510\u7345\u5b50\u3068\u7af9\u306b\u864e\u56f3\u5c4f\u98a8), 1668. Yamaguchi Sekkei (Japanese, 1644\u20131732). Pair of six-panel folding screens; ink and color on gilded paper. The Cleveland Museum of Art, John L. Severance Fund, 1972.10", "current_location": null, "title": "Lions and Tigers in Peony and Bamboo", "title_in_original_language": "\u7261\u4e39\u306b\u5510\u7345\u5b50\u3068\u7af9\u306b\u864e\u56f3\u5c4f\u98a8", "creation_date": "1668", "creation_date_earliest": 1668, "creation_date_latest": 1668, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "pair of six-panel folding screens; ink and color on gilded paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Folding screen", "type": "Painting", "dimensions": {"overall": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 302380, "title": "Japanese Screens from the Museum and Cleveland Collections", "description": "<i>Japanese Screens from the Museum and Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-May 8, 1977).", "opening_date": "1977-03-23T05:00:00"}, {"id": 310026, "title": "Byobu: The Art of the Japanese Screen", "description": "<i>Byobu: The Art of the Japanese Screen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1987-January 10, 1988).", "opening_date": "1987-12-08T05:00:00"}, {"id": 185596, "title": "Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art", "description": "<i>Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 15-September 16, 2001).", "opening_date": "2001-07-15T00:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 121)</em>. The Cleveland Museum of Art, Cleveland, OH (July 18-October 26, 2003).", "opening_date": "2003-07-18T00:00:00"}]}, "provenance": [{"description": "(Nisaburo Mizutani, Kyoto, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131972", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Sekkei lived and studied painting in Kyoto at the Kano school studio, the center of traditional painting activity in Japan since 1500. The use of gold foil as a backdrop for the frolicking animals served a practical as well as a decorative function. Because traditional Japanese rooms had no windows, interior lighting came from portable oil lamps and wax candles, whose effects were magnified by reflective surfaces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472003"], "internet_archive": ["https://archive.org/details/clevelandart-1972.10-lions-and-tigers-in"]}, "citations": [{"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. 383", "url": "https://archive.org/details/CMAHandbook1978/page/n403"}, {"citation": "Cunningham, Michael R. \"The Japanese Painter Yamaguchi Sekkei.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 1 (1980): 2-16.", "page_number": "Reproduced: cover, p. 3-4; Mentioned: p. 2-16", "url": "https://www.jstor.org/stable/25159655"}, {"citation": "Cunningham, Michael R. <em>Unfolding Beauty: Japanese Screens from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: pp. 38\u201339", "url": null}, {"citation": "Koyama-Richard, Brigitte. <em>Animaux Dans La Peinture Japonaise</em>. Lyon: Nouvelles e\u0301ditions Scala, 2020.", "page_number": "Mentioned and reproduced: pp. 102\u2013103", "url": ""}], "url": "https://clevelandart.org/art/1972.10", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.10/1972.10_web.jpg", "width": "900", "height": "899", "filesize": "", "filename": "1972.10_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.10/1972.10_print.jpg", "width": "3400", "height": "3398", "filesize": "", "filename": "1972.10_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.10/1972.10_full.tif", "width": "15767", "height": "15757", "filesize": "", "filename": "1972.10_full.tif"}}, "alternate_images": [{"date_created": "2015-03-04T21:08:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10/1972.10_alt0_web.jpg", "width": "900", "height": "439", "filesize": "197029"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10/1972.10_alt0_print.jpg", "width": "3400", "height": "1660", "filesize": "2304840"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10/1972.10_alt0_full.tif", "width": "3917", "height": "1912", "filesize": "22493864"}}, {"date_created": "2015-06-02T13:53:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10/1972.10_alt1_web.jpg", "width": "900", "height": "444", "filesize": "182937"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10/1972.10_alt1_print.jpg", "width": "3400", "height": "1677", "filesize": "1758393"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10/1972.10_alt1_full.tif", "width": "15720", "height": "7752", "filesize": "365622908"}}], "creditline": "John L. 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Paul Strand (American, 1890\u20131976). Vintage platinum print; image: 24.4 x 31.7 cm (9 5/8 x 12 1/2 in.); paper: 25.6 x 32.9 cm (10 1/16 x 12 15/16 in.); matted: 45.7 x 50.8 cm (18 x 20 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1983.201. Photographs by Paul Strand \u00a9 Aperture Foundation, Inc., Paul Strand Archive", "current_location": null, "title": "Riverside Drive and 83rd Street, New York", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "Vintage platinum print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 24.4 x 31.7 cm (9 5/8 x 12 1/2 in.); Paper: 25.6 x 32.9 cm (10 1/16 x 12 15/16 in.); Matted: 45.7 x 50.8 cm (18 x 20 in.)", "dimensions": {"image": {"height": 0.244, "height_inch": 9, "height_inch_fraction": 0.625, "width": 0.317, "width_inch": 12, "width_inch_fraction": 0.5}, "paper": {"height": 0.256, "height_inch": 10, "height_inch_fraction": 0.0625, "width": 0.329, "width_inch": 12, "width_inch_fraction": 0.9375}, "matted": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Photographs by Paul Strand \u00a9 Aperture Foundation, Inc., Paul Strand Archive", "inscriptions": [{"inscription": "Written in pencil on recto: \"PS\"; in pencil on verso: \"16\"; \"4\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309669, "title": "The Year in Review for 1983", "description": "<i>The Year in Review for 1983</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-April 8, 1984).", "opening_date": "1984-02-22T05:00:00"}, {"id": 311876, "title": "Legacy of Light: Seven Masters in Depth", "description": "<i>Legacy of Light: Seven Masters in Depth</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 20-February 2, 1996).", "opening_date": "1996-11-20T05:00:00"}, {"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007); Frick Art and Historical Center, Pittsburgh, PA (October 3, 2009-January 3, 2010).", "opening_date": "2007-06-24T00:00:00"}, {"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}], "legacy": [{"description": "<em>Paul Strand</em>. National Gallery of Art, Washington, DC (organizer); Whitney Museum of American Art, New York, NY (March 12-May 15, 1992); M. H. de Young Memorial Museum, San Francisco, CA (June 14-August 16, 1992); Victoria and Albert Museum, London, UK (September 16-November 22, 1992).", "opening_date": "1992-03-12T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In 1917, Alfred Stieglitz hailed Strand as the future of photography as an art and devoted much of the final two issues of <em>Camera Work</em> to him. \u201cHis vision is potential. His work is pure. It is direct. It does not rely upon tricks of process. In whatever he does there is applied intelligence,\u201d said Stieglitz. Strand draws upon the principles and themes of Pictorialism, finding inspiration in the rhythms of daily life in the city, the emotional intimacy of mother and child, and the contrast between natural and artificial forms. However, he also begins to assert a more boldly abstract vision through asymmetry, dynamic line, and strong contrasts, anticipating modernist trends in painting and photography that would prevail in the 1920s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780937"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \"Year in Review for 1983.\" <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 2 (1984): 38-79.", "page_number": "no. 110, p. 72", "url": "www.jstor.org/stable/25159848"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 343", "url": ""}, {"citation": "Tannenbaum, Barbara and Rager, Andrea Wolk. \u201cShadows and Dreams: American Pictorialists elevated photography to a fine art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 5 (September/October 2015): 8-9.", "page_number": "Reproduced: p. 9", "url": "https://archive.org/details/CMAMM2015-05"}], "url": "https://clevelandart.org/art/1983.201", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151360, "creators": [{"id": 967, "description": "Paul Strand (American, 1890\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": "Paul Strand American, 1890-1976\r\n\r\nPaul Strand (born in New York City) was an influential advocate of the straight approach in creative photography. While a student at the Ethical Culture School in New York, Strand studied photography with Lewis Hine (1907-8). In 1908 he joined the Camera Club of New York and three years later traveled through Europe, making softly focused, manipulated photographs in the popular pictorial style. In the fall of 1911 Strand established himself as a freelance commercial photographer in New York and two years later began visiting the exhibitions of modern art at Alfred Stieglitz's Photo-Secession galleries.\r\n\tBetween 1914-17, stimulated by his contact with Stieglitz and avant-garde American and European art, Strand abandoned pictorialism for images that expressed an interest in formal concerns and the dynamism of contemporary urban life. He experimented with abstraction and movement and candid portraiture of people on the street. Excited by Strand's innovative work, Stieglitz exhibited his pictures at \"291\" in 1916 and featured them in the final two issues of Camera Work (October 1916; June 1917). In 1917 Strand expressed his belief in a pure photographic aesthetic, stressing the objectivity of the medium and its ability to produce \"a range of almost infinite tonal values which lie beyond the skill of the human hand.\"\r\n\tThe following year Strand served as an x-ray technician in the Army Medical Corps. After his year of service, he returned to New York and in 1920 collaborated with painter/photographer Charles Sheeler on the avant-garde film Manhatta (originally titled New York the Magnificent). Throughout the 1920s Strand made his living as a filmmaker, only occasionally making photographs. He pursued both film and creative photography in the 1930s and early 1940s; by 1945, however, when his images were featured in a one-person exhibition at the Museum of Modern Art, New York, still photography had once more become his primary focus. After visiting France in 1950 he decided to settle there, and over the following two decades traveled and photographed in Europe and Africa.\r\n\tStrand's work has been widely exhibited. Retrospectives have been mounted by the Museum of Modern Art, New York (1945), the Philadelphia Museum of Art (1971, and tour), and the Metropolitan Museum of Art, New York (1973), and numerous traveling exhibitions have been organized, including Paul Strand: An American Vision by the National Gallery of Art, Washington, D.C. (1990). He was named an Honorary Member of the American Society of Magazine Photographers (1963) and a Fellow of the American Academy of Arts and Sciences (1973). M.M.", "name_in_original_language": null, "birth_year": "1890", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-12-05T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "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": "2026-05-01 06:51:10.747000"}, {"id": 123499, "accession_number": "1943.98", "share_license_status": "CC0", "tombstone": "Sampler, 1882. Anna Wakker (Dutch, 1871\u20131917). Embroidery; silk on cotton; overall: 48.6 x 41.3 cm (19 1/8 x 16 1/4 in.). The Cleveland Museum of Art, Gift of George W. Bierce, 1943.98", "current_location": null, "title": "Sampler", "creation_date": "1882", "creation_date_earliest": 1882, "creation_date_latest": 1882, "artists_tags": ["female"], "culture": ["Netherlands, late 19th century"], "technique": "embroidery; silk on cotton", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Sampler", "measurements": "Overall: 48.6 x 41.3 cm (19 1/8 x 16 1/4 in.)", "dimensions": {"overall": {"height": 0.486, "height_inch": 19, "height_inch_fraction": 0.125, "width": 0.413, "width_inch": 16, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "rows of alphabets, numerals, initials, names (\"Everhard Marinus Wakker and Catharina Ronde\"), and inscription: \"Anna Wakker oud 11 iaar anno 1882.\"  In center, at bottom: \"Anno 1803\" (embroidered later).", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "George W. Bierce (1869-1962), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1943", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1943-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The orphans often embroidered the initials of relatives on their samplers.", "description": "Orphaned as a child, Anna was sent to Burgerweeshuis (Citizen's Orphange) where she created this sampler. She embroidered not only her own name, Anna Wakker, but also the names of her parents, Everhard Marinus Wakker and Catharina Ronde.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1943.98-sampler"]}, "citations": [], "url": "https://clevelandart.org/art/1943.98", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.98/1943.98_web.jpg", "width": "773", "height": "900", "filesize": "373013", "filename": "1943.98_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.98/1943.98_print.jpg", "width": "2919", "height": "3400", "filesize": "5935576", "filename": "1943.98_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.98/1943.98_full.tif", "width": "5321", "height": "6198", "filesize": "98969940", "filename": "1943.98_full.tif"}}, "alternate_images": [], "creditline": "Gift of George W. Bierce", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123499, "creators": [{"id": 439329, "description": "Anna Wakker (Dutch, 1871\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "use_in_caption": true, "include_extent": false, "weight": null}], "legal_status": "accessioned", "accession_date": "1943-04-26T00:00:00", "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": "2026-05-01 06:48:31.594000"}, {"id": 168979, "accession_number": "2010.651", "share_license_status": "CC0", "tombstone": "The Studio: Isolde, 1895. Aubrey Beardsley (British, 1872\u20131898). Color lithograph; image: 22.8 x 14.2 cm (9 x 5 9/16 in.); sheet: 28.5 x 20.4 cm (11 1/4 x 8 1/16 in.). The Cleveland Museum of Art, Gift of John Bonebrake, 2010.651", "current_location": null, "title": "Isolde", "series": "The Studio", "creation_date": "1895", "creation_date_earliest": 1895, "creation_date_latest": 1895, "artists_tags": ["male"], "culture": ["England"], "technique": "color lithograph", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 22.8 x 14.2 cm (9 x 5 9/16 in.); Sheet: 28.5 x 20.4 cm (11 1/4 x 8 1/16 in.)", "dimensions": {"sheet": {"height": 0.285, "height_inch": 11, "height_inch_fraction": 0.25, "width": 0.204, "width_inch": 8, "width_inch_fraction": 0.0625}, "image": {"height": 0.228, "height_inch": 9, "height_inch_fraction": 0.0, "width": 0.142, "width_inch": 5, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Conrad Graeber Fine Art, Glyndon, MD)", "citations": [], "footnotes": [], "date": "?-1993", "sortorder": 1}, {"description": "John Bonebrake [1918-2011], Cleveland, OH", "citations": [], "footnotes": [], "date": "1993-2011", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 7, 2011", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Aubrey Beardsley died unexpectedly at the age of just 25, at the height of his popularity, of tuberculosis.", "description": "This print depicts Isolde, the female protagonist of a medieval romance centered on an adulterous love triangle. Aubrey Beardsley frequently drew from literature in his artwork, whether as illustrations or independent works of art. He became immensely popular during the 1890s, when this work was made, for his characteristically stark, sinuous, and linear style. Although Beardsley's images often accompanied text in books, this print was published by the popular British art journal <em>The Studio</em> as a bonus for its readers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075626"], "internet_archive": ["https://archive.org/details/clevelandart-2010.651-isolde"]}, "citations": [], "url": "https://clevelandart.org/art/2010.651", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.651/2010.651_web.jpg", "width": "566", "height": "893", "filesize": "348177", "filename": "2010.651_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.651/2010.651_print.jpg", "width": "2157", "height": "3400", "filesize": "2357309", "filename": "2010.651_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.651/2010.651_full.tif", "width": "3378", "height": "5325", "filesize": "53990468", "filename": "2010.651_full.tif"}}, "alternate_images": [], "creditline": "Gift of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168979, "creators": [{"id": 1385, "description": "Aubrey Beardsley (British, 1872\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1872", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68936, "description": "William Griggs (British, 1832\u20131911)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": "inventor of photo-chromo-lithography", "name_in_original_language": null, "birth_year": "1832", "death_year": "1911", "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2011-03-07T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "1895", "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": ["published, \"The Studio\""], "is_highlight": false, "updated_at": "2026-05-01 06:53:10.709000"}, {"id": 320471, "accession_number": "2018.1040", "share_license_status": "Copyrighted", "tombstone": "France. Paris. Widow of Montmartre: Untitled (40990), 1956. Bruce Davidson (American, b. 1933). Gelatin silver print; paper: 27.9 x 35.6 cm (11 x 14 in.). The Cleveland Museum of Art, Gift of an anonymous donor, 2018.1040. \u00a9 Bruce Davidson/Magnum Photos", "current_location": null, "title": "Untitled (40990)", "series": "France. Paris. Widow of Montmartre", "creation_date": "1956", "creation_date_earliest": 1956, "creation_date_latest": 1956, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Paper: 27.9 x 35.6 cm (11 x 14 in.)", "dimensions": {"paper": {"height": 0.279, "height_inch": 11, "height_inch_fraction": 0.0, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Bruce Davidson/Magnum Photos", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The widow, who lived alone in a garret in Paris, had known Toulouse-Lautrec and Gauguin.", "description": "Stationed in a photo lab outside Paris while serving in the U.S. Army during World War II, the twenty-two-year-old Davidson began photographing the aged widow of Impressionist painter L\u00e9on Fauch\u00e9. In a methodical dedication that would later become typical of Davidson\u2019s working style, he visited Madame Margaret Fauch\u00e9 daily for months, photographing every aspect of her life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79877337"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.1040", "images": {}, "alternate_images": [], "creditline": "Gift of an anonymous donor", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 320471, "creators": [{"id": 64191, "description": "Bruce Davidson (American, b. 1933)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1933", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1956, "date_added_to_oa": null, "date_text": "1956", "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": "2026-05-01 06:53:57.616000"}, {"id": 320472, "accession_number": "2018.1041", "share_license_status": "Copyrighted", "tombstone": "France. Paris. Widow of Montmartre: Untitled (40993), 1956. Bruce Davidson (American, b. 1933). Gelatin silver print; paper: 27.9 x 35.6 cm (11 x 14 in.). The Cleveland Museum of Art, Gift of an anonymous donor, 2018.1041. \u00a9 Bruce Davidson/Magnum Photos", "current_location": null, "title": "Untitled (40993)", "series": "France. Paris. 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Paris. Widow of Montmartre: Untitled (41017), 1956. Bruce Davidson (American, b. 1933). Gelatin silver print; paper: 27.9 x 35.6 cm (11 x 14 in.). The Cleveland Museum of Art, Gift of an anonymous donor, 2018.1042. \u00a9 Bruce Davidson/Magnum Photos", "current_location": null, "title": "Untitled (41017)", "series": "France. Paris. 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Paris. Widow of Montmartre: Untitled, 1956. Bruce Davidson (American, b. 1933). Gelatin silver print; image: 20.3 x 30.1 cm (8 x 11 7/8 in.); paper: 27.9 x 35.3 cm (11 x 13 7/8 in.). The Cleveland Museum of Art, Gift of an anonymous donor, 2018.1043. \u00a9 Bruce Davidson/Magnum Photos", "current_location": null, "title": "Untitled", "series": "France. Paris. 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Paris. Widow of Montmartre: Untitled, 1956. Bruce Davidson (American, b. 1933). Gelatin silver print; image: 20.2 x 30.4 cm (7 15/16 x 11 15/16 in.); paper: 27.8 x 35.3 cm (10 15/16 x 13 7/8 in.). The Cleveland Museum of Art, Gift of an anonymous donor, 2018.1044. \u00a9 Bruce Davidson/Magnum Photos", "current_location": null, "title": "Untitled", "series": "France. Paris. 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R. B. Kitaj (American, 1932\u20132007). Colored pencil and graphite on paper; 40.8 x 39.2 cm (16 1/16 x 15 7/16 in.). 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B. Kitaj presents a humorous distortion of scale. An arrow with the word \u201cGo\u201d points toward the man who dominates the center of the drawing, with his wide stance and clown-like shoes, unnaturally stiff pants, suspenders, short tie, and cigar. Behind him in much reduced scale, Kitaj drew the main street of an American small town, with its storefronts stretched horizontally and filled with hand-drawn signs. The picture\u2019s playful distortions may be intended to suggest the man\u2019s outsized personality or influence in the small town; at the same time, the drawing shows a young realist with Pop inclinations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84280088"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2019.246", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Lee Reid", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 374045, "creators": [{"id": 32919, "description": "R. B. Kitaj (American, 1932\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1932", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1949, "date_added_to_oa": null, "date_text": "1949", "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": "2026-05-01 06:54:05.755000"}, {"id": 412273, "accession_number": "2020.380", "share_license_status": "Copyrighted", "tombstone": "N.Y. Giants vs. Pittsburgh Steelers, Bronx, NY, 1962, 1962. Walter Iooss (American, 1943-). Archival pigment print; image: 38.3 x 55.8 cm (15 1/16 x 21 15/16 in.); paper: 50.7 x 61 cm (19 15/16 x 24 in.). The Cleveland Museum of Art, Gift of the Marino Family, 2020.380. \u00a9 Walter Iooss Jr., Courtesy of Bruce Silverstein Gallery, New York", "current_location": null, "title": "N.Y. Giants vs. Pittsburgh Steelers, Bronx, NY, 1962", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male"], "culture": ["America"], "technique": "archival pigment print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 38.3 x 55.8 cm (15 1/16 x 21 15/16 in.); Paper: 50.7 x 61 cm (19 15/16 x 24 in.)", "dimensions": {"image": {"height": 0.383, "height_inch": 15, "height_inch_fraction": 0.0625, "width": 0.558, "width_inch": 21, "width_inch_fraction": 0.9375}, "paper": {"height": 0.507, "height_inch": 19, "height_inch_fraction": 0.9375, "width": 0.61, "width_inch": 24, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Walter Iooss Jr., Courtesy of Bruce Silverstein Gallery, New York", "inscriptions": [{"inscription": "Written in black ink on verso: \"Walter Iooss (signed)/1963\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Walter Iooss is known as \u201cthe poet laureate of sports\u201d for his ability to combine artistry with the capture of decisive moments.", "description": "Iooss\u2019s densely packed composition communicates the heft and force of this mass of brawny men, most trying to stop but a few trying to protect Steeler Theron Sapp, who pushes against them all from the right edge. This game determined which of the two teams would play in the National Football League Championship Game. The Giants won this game but lost the championship.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106617484"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.380", "images": {}, "alternate_images": [], "creditline": "Gift of the Marino Family", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 412273, "creators": [{"id": 412269, "description": "Walter Iooss (American, 1943-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Walter Iooss (born 1943) is known as \u201cthe poet laureate of sports\u201d for his ability to combine artistry with capture of the right moment. Also noted for his portraiture, Iooss is the recipient of a Lifetime Achievement Award from The Lucie Awards, has 60 images in the National Museum of African American History and Culture, Smithsonian. His work was the subject of a dedicated auction at Christie\u2019s in 2003. <em>Sports Illustrated</em> has run his pictures for 58 years, with his photographs gracing over 300 of their covers.", "name_in_original_language": null, "birth_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "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": ["N.Y. Giants vs. Pittsburgh Steelers, Yankee Stadium"], "is_highlight": false, "updated_at": "2026-05-01 06:54:12.988000"}, {"id": 370085, "accession_number": "2020.62", "share_license_status": "Copyrighted", "tombstone": "Muybridge in Motion, 1979. Mark Schwartz (American, 1956\u20132014). Gelatin silver print, gold-toned; matted: 39.4 x 24.1 cm (15 1/2 x 9 1/2 in.); framed: 53.3 x 43.2 cm (21 x 17 in.). The Cleveland Museum of Art, Gift from the Collection of Mark Schwartz + Bettina Katz, 2020.62", "current_location": null, "title": "Muybridge in Motion", "creation_date": "1979", "creation_date_earliest": 1979, "creation_date_latest": 1979, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print, gold-toned", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Matted: 39.4 x 24.1 cm (15 1/2 x 9 1/2 in.); Framed: 53.3 x 43.2 cm (21 x 17 in.)", "dimensions": {"matted": {"height": 0.394, "height_inch": 15, "height_inch_fraction": 0.5, "width": 0.241, "width_inch": 9, "width_inch_fraction": 0.5}, "framed": {"height": 0.533, "height_inch": 21, "height_inch_fraction": 0.0, "width": 0.432, "width_inch": 17, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Mark Schwartz + Bettina Katz, Cleveland, OH", "citations": [], "footnotes": [], "date": "1979-2020", "sortorder": 1}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 2, 2020", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The contact sheet is a twentieth-century phenomenon.", "description": "The contact sheet\u2014a piece of photographic paper which contains positive prints of some or all of the negatives on a roll of film\u2014was necessitated by the advent of roll film, which produced small negatives, and rendered obsolete with the advent of digital photography. Having access to a photographer\u2019s contact reveals the artist's thoughts and working processes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87411563"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.62", "images": {}, "alternate_images": [], "creditline": "Gift from the Collection of Mark Schwartz + Bettina Katz", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 370085, "creators": [{"id": 58932, "description": "Mark Schwartz (American, 1956\u20132014)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1956", "death_year": "2014", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-02-05T00:00:00-05:00", "sortable_date": 1979, "date_added_to_oa": null, "date_text": "1979", "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": "2026-05-01 06:54:04.615000"}, {"id": 442287, "accession_number": "2021.135", "share_license_status": "Copyrighted", "tombstone": "Looking for Justice, Civil Rights Rally, Montgomery, Alabama, 1968. Chester Higgins (American, b. 1946). Gelatin silver print; image: 19.3 x 21.9 cm (7 5/8 x 8 5/8 in.); paper: 19.3 x 21.9 cm (7 5/8 x 8 5/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 2021.135", "current_location": null, "title": "Looking for Justice, Civil Rights Rally, Montgomery, Alabama", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["male", "Black American Artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 19.3 x 21.9 cm (7 5/8 x 8 5/8 in.); Paper: 19.3 x 21.9 cm (7 5/8 x 8 5/8 in.)", "dimensions": {"image": {"height": 0.193, "height_inch": 7, "height_inch_fraction": 0.625, "width": 0.219, "width_inch": 8, "width_inch_fraction": 0.625}, "paper": {"height": 0.193, "height_inch": 7, "height_inch_fraction": 0.625, "width": 0.219, "width_inch": 8, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso: \u201cMontgomery, Justice (Looking \nFor)/1968/Chester Higgins (signed)\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Stamped in black ink on verso: (Egyptian Eye of Horus \nsymbol)/CHESTER HIGGINS JR./COPYRIGHTED \nPHOTOGRAPH/ALL RIGHTS RESERVED\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Stamped in black ink on verso: \u201c\u00a9 COPYRIGHTED \nPHOTOGRAPHY/By CHESTER HIGGINS, JR./CANNOT BE \nPUBLISHED IN ANY/FORM WITHOUT PERMISSION.\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \u201cE2-5-10/RB\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Imprinted in black type on white paper label adhered to verso: \n\u201cRapho/Photo Researchers, Inc/New York, NY 10022 USA/9R1315\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \u201cDrums of Life Book\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \u201cCHI-00213-SP\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Chester Higgins, Jr. (the artist) [1946-]", "citations": [], "footnotes": null, "date": "1968-2021", "sortorder": 1}, {"description": "(Bruce Silverstein Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "2021", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 13, 2021-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chester Higgins Jr. took this image the year he began photographing, while still a student at the Tuskegee Institute.", "description": "Higgins took up photography to document protests on campus and other activities in the Civil Rights Movement. The picture shows neither leaders nor dramatic moments in the movement; instead, Higgins focused on the audience listening to speeches at a civil rights rally. The expressions on the faces of the crowd vary: they range from hope to forbearance to cynicism, but always demonstrate determination.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246879"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2021.135", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 442287, "creators": [{"id": 442284, "description": "Chester Higgins (American, b. 1946)", "extent": null, "qualifier": null, "role": "artist", "biography": "American photographer, born 1946", "name_in_original_language": null, "birth_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "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": "2026-05-01 06:54:15.594000"}, {"id": 449531, "accession_number": "2021.209", "share_license_status": "Copyrighted", "tombstone": "Rising Cantilevers, 1927. Margaret Bourke-White (American, 1904\u20131971). Gelatin silver print; image: 24.2 x 18.7 cm (9 1/2 x 7 3/8 in.); paper: 25.3 x 20.3 cm (9 15/16 x 8 in.). 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Industrial imagery was not a traditional subject for women, but it attracted Bourke-White. \"To me . . . industrial forms were all the more beautiful because they were never designed to be beautiful. They had a simplicity of line that came from their direct application of purpose. Industry . . . had evolved an unconscious beauty\u2014often a hidden beauty that was waiting to be discovered.\" A print of this image was exhibited at the museum in the 1929 May Show.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247082"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2021.209", "images": {}, "alternate_images": [], "creditline": "Gift of William and Margaret Lipscomb", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 449531, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-12-06T05:00:00Z", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "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": "2026-05-01 06:54:18.249000"}, {"id": 536419, "accession_number": "2023.15", "share_license_status": "CC0", "tombstone": "Little Regine in Vallekilde, 1839. Johan Thomas Lundbye (Danish, 1818\u20131848). Etching on laid paper; platemark: 12 x 7.3 cm (4 3/4 x 2 7/8 in.); sheet: 13.3 x 8.8 cm (5 1/4 x 3 7/16 in.). 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An avid painter and draftsman, he simultaneously created more intimate prints such as this one depicting his cousin, Regine. The young girl appears knitting, surrounded by whimsical and anecdotal sketches that play on the experimentality of etching.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117351435"], "internet_archive": ["https://archive.org/details/clevelandart-2023.15-little-regine-in-val"]}, "citations": [], "url": "https://clevelandart.org/art/2023.15", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2023.15/2023.15_web.jpg", "width": "595", "height": "900", "filesize": "261343", "filename": "2023.15_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2023.15/2023.15_print.jpg", "width": "2246", "height": "3400", "filesize": "3167560", "filename": "2023.15_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2023.15/2023.15_full.tif", "width": "7767", "height": "11757", "filesize": "273980084", "filename": "2023.15_full.tif"}}, "alternate_images": [], "creditline": "The Charlotte Ekker and Charlotte Van der Veer Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 536419, "creators": [{"id": 518328, "description": "Johan Thomas Lundbye (Danish, 1818\u20131848)", "extent": null, "qualifier": null, "role": "artist", "biography": "Danish painter, 1818-1848", "name_in_original_language": null, "birth_year": "1818", "death_year": "1848", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2023-03-06T05:00:00Z", "sortable_date": 1839, "date_added_to_oa": null, "date_text": "1839", "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": "2026-05-01 06:54:26.056000"}, {"id": 680781, "accession_number": "2024.136", "share_license_status": "Copyrighted", "tombstone": "Seated Woman, 1945. Oscar Chelimsky (American, 1923\u20132010). Etching and aquatint. The Cleveland Museum of Art, Gift of the artist's family, 2024.136", "current_location": null, "title": "Seated Woman", "creation_date": "1945", "creation_date_earliest": 1945, "creation_date_latest": 1945, "artists_tags": ["male"], "culture": ["America"], "technique": "etching and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {"image": {"height": 0.102, "height_inch": 4, "height_inch_fraction": 0.0, "width": 0.152, "width_inch": 6, "width_inch_fraction": 0.0}}, "state_of_the_work": "I/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Private collection, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1945-2024", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 9, 2024\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Of his time as an artist in mid-century France, Oscar Chelimsky once said that \u201cthe Paris art world then was like one great big family.\u201d", "description": "This print was produced by Oscar Chelimsky at Atelier 17, an experimental intaglio printmaking workshop in Paris run by artist and master printer Stanley William Hayter. Chelimsky used a simple female figure to experiment with varied textures, likely by pressing fabric or other material into the waxy surface of his copper printing plate. The artist spent much of his professional life in France and, alongside his printmaking practice, exhibited his paintings and drawings at important mid-century venues such as the Salon de Mai and Galerie Jeanne Bucher.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2024.136", "images": {}, "alternate_images": [], "creditline": "Gift of the artist's family", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 680781, "creators": [{"id": 680773, "description": "Oscar Chelimsky (American, 1923\u20132010)", "extent": null, "qualifier": null, "role": "artist", "biography": "American painter, born 1923", "name_in_original_language": null, "birth_year": "1923", "death_year": "2010", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-09-09T04:00:00Z", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945", "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": "2026-05-01 06:55:36.670000"}, {"id": 680782, "accession_number": "2024.137", "share_license_status": "Copyrighted", "tombstone": "Seated Woman, 1945. Oscar Chelimsky (American, 1923\u20132010). Etching and aquatint. The Cleveland Museum of Art, Gift of the artist's family, 2024.137", "current_location": null, "title": "Seated Woman", "creation_date": "1945", "creation_date_earliest": 1945, "creation_date_latest": 1945, "artists_tags": ["male"], "culture": ["America"], "technique": "etching and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {"image": {"height": 0.102, "height_inch": 4, "height_inch_fraction": 0.0, "width": 0.152, "width_inch": 6, "width_inch_fraction": 0.0}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Private collection, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1945-2024", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 9, 2024\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Of his time as an artist in mid-century France, Oscar Chelimsky once said that \u201cthe Paris art world then was like one great big family.\u201d", "description": "These prints were produced by Oscar Chelimsky while studying with master printer Stanley William Hayter at New York's New School. Chelimsky later worked with Hayter at Atelier 17, his experimental intaglio printmaking workshop in Paris. Chelimsky used a simple female figure to experiment with varied textures, likely by pressing fabric or other material into the waxy surface of his copper printing plate. The artist spent much of his professional life in France and, alongside his printmaking practice, exhibited his paintings and drawings at important mid-century venues such as the Salon de Mai and Galerie Jeanne Bucher.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2024.137", "images": {}, "alternate_images": [], "creditline": "Gift of the artist's family", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 680782, "creators": [{"id": 680773, "description": "Oscar Chelimsky (American, 1923\u20132010)", "extent": null, "qualifier": null, "role": "artist", "biography": "American painter, born 1923", "name_in_original_language": null, "birth_year": "1923", "death_year": "2010", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-09-09T04:00:00Z", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945", "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": "2026-05-01 06:55:36.677000"}, {"id": 697753, "accession_number": "2025.186", "share_license_status": "CC0", "tombstone": "Abraham and the Angels, 1513. Lucas van Leyden (Netherlandish, 1494\u2013about 1533). Engraving; image: 17.8 x 14 cm (7 x 5 1/2 in.). The Cleveland Museum of Art, Gift of Edward Olszewski, 2025.186", "current_location": null, "title": "Abraham and the Angels", "creation_date": "1513", "creation_date_earliest": 1513, "creation_date_latest": 1513, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Image: 17.8 x 14 cm (7 x 5 1/2 in.)", "dimensions": {"image": {"height": 0.178, "height_inch": 7, "height_inch_fraction": 0.0, "width": 0.14, "width_inch": 5, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Engraving depicting Abraham and the Three Angels; Abraham, in profile facing to the left, kneels before three angels in front of him at left. Lettered with the letter \u201cL\u201d on rock formations behind Abraham to the right", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lucas van Leyden was an innovator in the medium of engraving, inventing new strategies for modeling shadow by cutting curved parallel lines and then adding shorter lines in between, as seen on the angel\u2019s knee.", "description": "Lucas van Leyden\u2019s subject derives from Genesis 18, when Abraham met three angelic figures as they walked across the plains of Mamre. Abraham invited them to rest under a tree, seen in the left background, where he would later receive news from the Lord that his wife Sarah would bear a son. Van Leyden depicted Abraham kneeling before three standing figures and placed a walking stick in the hand of one of the angels to identify them as travelers. The compact composition and delicate textures, such as the angels\u2019 wings, are typical of the artist's engraving technique.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "catalogue_raisonne": "New Hollstein (Dutch & Flemish) 15", "url": "https://clevelandart.org/art/2025.186", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2025.186/2025.186_web.jpg", "width": "695", "height": "900", "filesize": "366929", "filename": "2025.186_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2025.186/2025.186_print.jpg", "width": "2627", "height": "3400", "filesize": "5212379", "filename": "2025.186_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2025.186/2025.186_full.tif", "width": "8861", "height": "11470", "filesize": "304939932", "filename": "2025.186_full.tif"}}, "alternate_images": [{"date_created": "2026-03-23T11:19:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.186/2025.186_alt0_web.jpg", "width": "695", "height": "900", "filesize": "232722"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.186/2025.186_alt0_print.jpg", "width": "2627", "height": "3400", "filesize": "3670012"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.186/2025.186_alt0_full.tif", "width": "8861", "height": "11470", "filesize": "304935904"}}], "creditline": "Gift of Edward Olszewski", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 697753, "creators": [{"id": 22613, "description": "Lucas van Leyden (Netherlandish, 1494\u2013about 1533)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1494", "death_year": "1533", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-09-08T04:00:00Z", "sortable_date": 1513, "date_added_to_oa": null, "date_text": "1513", "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": "2026-05-04 22:27:01.378000"}, {"id": 671867, "accession_number": "2025.263", "share_license_status": "Copyrighted", "tombstone": "Dormido, 1975. Joey Terrill (Mexican American, b. 1955). Color screenprint; sheet: 48.3 x 67.3 cm (19 x 26 1/2 in.). The Cleveland Museum of Art, Gift of Stephen Dull, 2025.263", "current_location": null, "title": "Dormido", "creation_date": "1975", "creation_date_earliest": 1975, "creation_date_latest": 1975, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Mexico"], "technique": "color screenprint", "support_materials": [], "department": "Prints", "collection": "PR - Screenprint", "type": "Print", "measurements": "Sheet: 48.3 x 67.3 cm (19 x 26 1/2 in.)", "dimensions": {"sheet": {"height": 0.483, "height_inch": 19, "height_inch_fraction": 0.0, "width": 0.673, "width_inch": 26, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed, in graphite, below lower margin of image: DORMIDO / ED. 12 / JOEY TERRILL [star] JUNE 5, 1975", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Ortuzar Projects, New York, NY, sold to Stephen Dull, Shaker Heights, OH)", "citations": [], "footnotes": null, "date": "?\u2013?", "sortorder": 1}, {"description": "Stephen Dull, Shaker Heights, OH, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>Dormido </em>was one of three works that Joey Terrill created for the important exhibition \u201cEscandalosas!\u201d There, he not only gained broader attention for his work but also connected with fellow artist Teddy Sandoval, who became his close and frequent collaborator.", "description": "Joey Terrill is a Chicano artist living and working in Los Angeles. He became known in the 1970s for work that addressed both the politics of his Mexican heritage and his identity as a gay man during the years of the gay liberation movement. Terrill embraced a graphic style inspired by comics and popular imagery, as well as the art of fellow Angeleno Corita Kent, who likewise worked in screenprinting and was influenced by graphic design and poster art. Here, he depicted two men embracing, one with a black mustache and the other blond, suggesting the machismo that the artist saw as defining Chicano culture\u2014a prevailing theme in his work.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2025.263", "images": {}, "alternate_images": [], "creditline": "Gift of Stephen Dull", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 671867, "creators": [{"id": 671861, "description": "Joey Terrill (Mexican American, b. 1955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-12-08T05:00:00Z", "sortable_date": 1975, "date_added_to_oa": null, "date_text": "1975", "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": "2026-05-01 06:55:29.439000"}, {"id": 148002, "accession_number": "1974.94", "share_license_status": "CC0", "tombstone": "The Game of Blind Man's Bluff, 1739. Charles-Nicolas Cochin (French, 1715\u20131790), after Nicolas Lancret (French, 1690\u20131743). Etching. The Cleveland Museum of Art, L. E. Holden Fund, 1974.94", "current_location": null, "title": "The Game of Blind Man's Bluff", "creation_date": "1739", "creation_date_earliest": 1739, "creation_date_latest": 1739, "artists_tags": ["male"], "culture": ["France, 18th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {"sheet": {"height": 0.437, "height_inch": 17, "height_inch_fraction": 0.1875, "width": 0.614, "width_inch": 24, "width_inch_fraction": 0.1875}, "platemark": {}}, "state_of_the_work": "I/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302084, "title": "Year in Review: 1974", "description": "<i>Year in Review: 1974</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 11-April 6, 1975).", "opening_date": "1975-03-11T04:00:00"}, {"id": 309577, "title": "French Prints and Drawings in the Age of the Bourbons, 1589-1792", "description": "<i>French Prints and Drawings in the Age of the Bourbons, 1589-1792</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 2-May 16, 1982).", "opening_date": "1982-02-02T05:00:00"}, {"id": 309656, "title": "Highlights of the Rococo: Norweb Ceramics and Related Arts", "description": "<i>Highlights of the Rococo: Norweb Ceramics and Related Arts</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8, 1983-June 3, 1984).", "opening_date": "1983-11-08T05:00:00"}, {"id": 310008, "title": "Real Prints: Reproduction or Invention", "description": "<i>Real Prints: Reproduction or Invention</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-May 17, 1987).", "opening_date": "1987-04-07T04:00:00"}, {"id": 310251, "title": "Rococo, Revolution, Restoration", "description": "<i>Rococo, Revolution, Restoration</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-September 24, 1989).", "opening_date": "1989-07-11T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 282301, "title": "Elegance and Intrigue: French Society in 18th-century Prints and Drawings", "description": "<i>Elegance and Intrigue: French Society in 18th-century Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 16-November 6, 2016).", "opening_date": "2016-07-16T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Specially trained printmakers like Cochin reproduced and popularized other artists\u2019 works in printed form. His free and spontaneous style of etching translates Lancret\u2019s original painting with a lighthearted quality appropriate to this bucolic setting and <em>f\u00eate champ\u00eatre,</em> a festive outdoor party enjoyed especially by members of the French aristocracy. The fashionable garden\u2019s rococo balustrade, with its cascading arrangement of nude statues, is reminiscent of Boucher\u2019s fountain designs on view nearby.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780801"], "internet_archive": ["https://archive.org/details/clevelandart-1974.94-the-game-of-blind-ma"]}, "citations": [], "catalogue_raisonne": "Bocher 42 / Fonds Fran\u00e7ais 18th siecle IV.640.259", "url": "https://clevelandart.org/art/1974.94", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1974.94/1974.94_web.jpg", "width": "900", "height": "646", "filesize": "315398", "filename": "1974.94_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1974.94/1974.94_print.jpg", "width": "3400", "height": "2439", "filesize": "4112848", "filename": "1974.94_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1974.94/1974.94_full.tif", "width": "6702", "height": "4807", "filesize": "96683312", "filename": "1974.94_full.tif"}}, "alternate_images": [], "creditline": "L. E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148002, "creators": [{"id": 19104, "description": "Charles-Nicolas Cochin (French, 1715\u20131790)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1715", "death_year": "1790", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 1885, "description": "Nicolas Lancret (French, 1690\u20131743)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1690", "death_year": "1743", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1974-11-25T00:00:00", "sortable_date": 1739, "date_added_to_oa": null, "date_text": "1739", "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": "2026-05-01 06:50:49.897000"}, {"id": 156880, "accession_number": "1992.9", "share_license_status": "Copyrighted", "tombstone": "Moscow, 1935. Emmanuel Evzerikhin (Russian, 1911\u20131984). Gelatin silver print; image: 27.2 x 37.4 cm (10 11/16 x 14 3/4 in.); matted: 45.7 x 55.9 cm (18 x 22 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1992.9", "current_location": null, "title": "Moscow", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["male"], "culture": ["Russia"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - Russian 20th Century", "type": "Photograph", "measurements": "Image: 27.2 x 37.4 cm (10 11/16 x 14 3/4 in.); Matted: 45.7 x 55.9 cm (18 x 22 in.)", "dimensions": {"image": {"height": 0.272, "height_inch": 10, "height_inch_fraction": 0.6875, "width": 0.374, "width_inch": 14, "width_inch_fraction": 0.75}, "matted": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.559, "width_inch": 22, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in blue ink on verso: \"BUCTABKA BCXB / 1935 r. / POTO 3 _______[in cyrillic letters]\";  trans: Exhibition BCXB [apparently an abbreviation or monogram]/year 1935 / Photo E. Evzerikhin)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311552, "title": "Selected Acquisitions", "description": "<i>Selected Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-April 11, 1993).", "opening_date": "1993-02-09T05:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}], "legacy": [{"description": "Lawrence Miller Gallery, New York, January 3 - February 15, 1992: \"The Utopian Dream: Photography in Soviet Russia 1918-1939,\" p. 26.", "opening_date": "1992-01-03T00:00:00"}, {"description": "CMA, January 28 - March 15, 1992: \"Selected Acquisitions,\" CMA Bulletin, 80 (February 1993), p. 68, no. 95.", "opening_date": "1992-01-28T00:00:00"}, {"description": "CMA, November 20,1996 - February 2, 1997: \"Legacy of Light: Master Photographs from the Cleveland Museum of Art.\"", "opening_date": "1997-02-02T00:00:00"}]}, "provenance": [{"description": "H. Schickler", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "An important figure in Soviet photography between World War I and World War II, Evzerikhin began working as a photojournalist for the TASS news agency in the early 1930s. In Moscow, Evzerikhin used an elevated vantage point to flatten the space in the photograph and transform the image into a series of abstract patterns and shapes. The bold diagonals repreated throughout the composition capture the energy and motion of an everyday, urban street.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946952"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 68", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 151", "url": ""}], "url": "https://clevelandart.org/art/1992.9", "images": {}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156880, "creators": [{"id": 379, "description": "Emmanuel Evzerikhin (Russian, 1911\u20131984)", "extent": null, "qualifier": null, "role": "artist", "biography": "Emmanuel Evzerikhin Soviet, b. Azerbaijan, 1911-1984\r\nEmmanuel Evzerikhin, born in Baku, Azerbaijan, worked as a photojournalist for the Tass news agency in the early 1930s and during World War II. Some of his best known images were taken as a war correspondent covering the Battle of Stalingrad and the Liberation of Byelorussia. M.M.", "name_in_original_language": null, "birth_year": "1911", "death_year": "1984", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-02-24T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935", "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": "2026-05-01 06:51:44.722000"}, {"id": 142985, "accession_number": "1966.723", "share_license_status": "CC0", "tombstone": "Saint Agostino from Bulagajo, Perugia (San Agostino dalla parte del Bulagajo, Perugia), 1829. Edward Jakob von Steinle (Austrian, 1810\u20131886). Graphite; sheet: 28 x 42.2 cm (11 x 16 5/8 in.). The Cleveland Museum of Art, Sundry Purchase Fund, 1966.723", "current_location": null, "title": "Saint Agostino from Bulagajo, Perugia (San Agostino dalla parte del Bulagajo, Perugia)", "creation_date": "1829", "creation_date_earliest": 1829, "creation_date_latest": 1829, "artists_tags": ["male"], "culture": ["Austria"], "technique": "graphite", "support_materials": [{"description": "cream(1) laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - Austrian", "type": "Drawing", "measurements": "Sheet: 28 x 42.2 cm (11 x 16 5/8 in.)", "dimensions": {"sheet": {"height": 0.28, "height_inch": 11, "height_inch_fraction": 0.0, "width": 0.422, "width_inch": 16, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "[by artist?], upper right, in graphite: St. Agostino dalla parte del Bulagajo / Perugia 1829 ; by artist, center right, in hills: [numerals] ; VERSO, upper center, in graphite: 1", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 304508, "title": "German Drawings of the 18th, 19th, and 20th Centuries", "description": "<i>German Drawings of the 18th, 19th, and 20th Centuries</i>. The Cleveland Museum of Art (April 1-July 13, 1980).", "opening_date": "1980-04-01T05:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 311557, "title": "The German Tradition", "description": "<i>The German Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 27, 1993).", "opening_date": "1993-04-27T04:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio: The Cleveland Museum of Art; 8/15/04-11/14/04. \"Nature Sublime: Landscapes from the 19th Century\".  No exhibition catalogue.", "opening_date": "2004-08-15T00:00:00"}]}, "provenance": [{"description": "[C.G. Boerner, D\u00fcsseldorf, cat. 44, Nov. 1966, no. 151]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "An early work by Steinle, this drawing dates from the beginning of the artist\u2019s sojourn in Rome (1828-3). Steinle belonged to the second generation of Nazarenes, a group of young artists who had seceded from Vienna\u2019s academy and committed themselves to the revival of 15th and 16th-century German and Italian art through themes derived from historical and religious sources. Calling themselves the Brotherhood of Saint Luke, they moved to Rome, studied Catholicism, and executed stylized images that recalled the visual sensibility of Renaissance engravings. This view of Saint Agostino and the\r\nsurrounding landscape is in keeping with the Nazarene\u2019s aesthetic, to which Steinle adhered troughout his career.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80043278"], "internet_archive": ["https://archive.org/details/clevelandart-1966.723-saint-agostino-from"]}, "citations": [], "url": "https://clevelandart.org/art/1966.723", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.723/1966.723_web.jpg", "width": "1263", "height": "839", "filesize": "165091", "filename": "1966.723_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.723/1966.723_print.jpg", "width": "3400", "height": "2258", "filesize": "1419569", "filename": "1966.723_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.723/1966.723_full.tif", "width": "7916", "height": "5258", "filesize": "124889040", "filename": "1966.723_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.723/1966.723_alt0_web.jpg", "width": "1263", "height": "847", "filesize": "710871"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.723/1966.723_alt0_print.jpg", "width": "3400", "height": "2279", "filesize": "5048465"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.723/1966.723_alt0_full.tif", "width": "5000", "height": "3352", "filesize": "50303140"}}], "creditline": "Sundry Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142985, "creators": [{"id": 12767, "description": "Edward Jakob von Steinle (Austrian, 1810\u20131886)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1810", "death_year": "1886", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1829, "date_added_to_oa": null, "date_text": "1829", "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": "2026-05-01 06:50:23.912000"}, {"id": 122577, "accession_number": "1942.83", "share_license_status": "CC0", "tombstone": "Venus Anadyom\u00e8ne, 1839. Th\u00e9odore Chass\u00e9riau (French, 1819\u20131856). Lithograph; sheet: 44.5 x 31.3 cm (17 1/2 x 12 5/16 in.); image: 28.4 x 22.7 cm (11 3/16 x 8 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1942.83", "current_location": null, "title": "Venus Anadyom\u00e8ne", "creation_date": "1839", "creation_date_earliest": 1839, "creation_date_latest": 1839, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 44.5 x 31.3 cm (17 1/2 x 12 5/16 in.); Image: 28.4 x 22.7 cm (11 3/16 x 8 15/16 in.)", "dimensions": {"sheet": {"height": 0.445, "height_inch": 17, "height_inch_fraction": 0.5, "width": 0.313, "width_inch": 12, "width_inch_fraction": 0.3125}, "image": {"height": 0.284, "height_inch": 11, "height_inch_fraction": 0.1875, "width": 0.227, "width_inch": 8, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. 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Rembrandt Bugatti (Italian, 1884\u20131916). Bronze; overall: 17.8 x 42 x 15.1 cm (7 x 16 9/16 x 5 15/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Noah L. Butkin, 1977.132", "current_location": null, "title": "Walking Panther", "creation_date": "1903", "creation_date_earliest": 1903, "creation_date_latest": 1903, "artists_tags": ["male"], "culture": ["Italy, active in France, early 20th Century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 17.8 x 42 x 15.1 cm (7 x 16 9/16 x 5 15/16 in.)", "dimensions": {"overall": {"height": 0.178, "height_inch": 7, "height_inch_fraction": 0.0, "width": 0.42, "width_inch": 16, "width_inch_fraction": 0.5625, "depth": 0.151, "depth_inch": 5, "depth_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed:  R. Bugatti, stamped A. A. 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Butkin, Cleveland", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Panthers were among the first wild animals depicted by Rembrandt Bugatti after his encounter with them in the French national zoo, at the Jardin des Plantes in Paris.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929635"], "internet_archive": ["https://archive.org/details/clevelandart-1977.132-walking-panther"]}, "citations": [{"citation": "Hawley, Henry, \"All in the Family\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 39 no. 06, Summer", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM1999-06/page/n5"}, {"citation": "Fromanger, Ve\u0301ronique and Carla Briner. <em>Rembrandt Bugatti, Sculptor: Re\u0301pertoire Monographique: A Meteoric Rise</em>. Paris: Les \u00c9ditions de l\u2019Amateur 2016.", "page_number": "Mentioned &N reproduced: pp. 295-296. cat. 120", "url": null}], "url": "https://clevelandart.org/art/1977.132", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.132/1977.132_web.jpg", "width": "1263", "height": "833", "filesize": "102271", "filename": "1977.132_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.132/1977.132_print.jpg", "width": "3400", "height": "2242", "filesize": "706322", "filename": "1977.132_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.132/1977.132_full.tif", "width": "7408", "height": "4885", "filesize": "108592664", "filename": "1977.132_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt0_web.jpg", "width": "1124", "height": "893", "filesize": "652892"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt0_print.jpg", "width": "1934", "height": "1536", "filesize": "2064646"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt0_full.tif", "width": "1934", "height": "1536", "filesize": "8915124"}}, {"date_created": "2013-09-24T10:58:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt1_web.jpg", "width": "1263", "height": "787", "filesize": "100511"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt1_print.jpg", "width": "3400", "height": "2118", "filesize": "682200"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt1_full.tif", "width": "7654", "height": "4769", "filesize": "109536248"}}, {"date_created": "2013-09-24T11:18:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt2_web.jpg", "width": "1065", "height": "893", "filesize": "80285"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt2_print.jpg", "width": "3400", "height": "2851", "filesize": "720125"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt2_full.tif", "width": "4619", "height": "3874", "filesize": "53710200"}}, {"date_created": "2013-09-24T11:41:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt3_web.jpg", "width": "924", "height": "893", "filesize": "68919"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt3_print.jpg", "width": "3400", "height": "3287", "filesize": "822950"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt3_full.tif", "width": "3950", "height": "3819", "filesize": "45282456"}}, {"date_created": "2013-09-24T13:10:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt4_web.jpg", "width": "1263", "height": "780", "filesize": "207109"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt4_print.jpg", "width": "3400", "height": "2099", "filesize": "1250707"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt4_full.tif", "width": "7691", "height": "4750", "filesize": "109623188"}}, {"date_created": "2013-09-24T13:40:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt5_web.jpg", "width": "1082", "height": "893", "filesize": "238755"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt5_print.jpg", "width": "3400", "height": "2807", "filesize": "2298565"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.132/1977.132_alt5_full.tif", "width": "6557", "height": "5414", "filesize": "106522864"}}], "creditline": "Gift of Mr. and Mrs. Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148976, "creators": [{"id": 19414, "description": "Rembrandt Bugatti (Italian, 1884\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "Active France and Belgium", "name_in_original_language": null, "birth_year": "1884", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-10-20T00:00:00", "sortable_date": 1903, "date_added_to_oa": null, "date_text": "1903", "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": ["Walking Tiger"], "is_highlight": false, "updated_at": "2026-05-01 06:50:55.688000"}, {"id": 152654, "accession_number": "1985.46", "share_license_status": "Copyrighted", "tombstone": "Tug and New York Skyline, 1922. Ralph Steiner (American, 1899\u20131986). Gelatin silver print; image: 4.8 x 9.8 cm (1 7/8 x 3 7/8 in.); matted: 35.6 x 45.7 cm (14 x 18 in.). The Cleveland Museum of Art, John L. Severance Fund, 1985.46. \u00a9 Estate of Ralph Steiner", "current_location": null, "title": "Tug and New York Skyline", "creation_date": "1922", "creation_date_earliest": 1922, "creation_date_latest": 1922, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 4.8 x 9.8 cm (1 7/8 x 3 7/8 in.); Matted: 35.6 x 45.7 cm (14 x 18 in.)", "dimensions": {"image": {"height": 0.048, "height_inch": 1, "height_inch_fraction": 0.875, "width": 0.098, "width_inch": 3, "width_inch_fraction": 0.875}, "matted": {"height": 0.356, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ralph Steiner", "inscriptions": [{"inscription": "Written in pencil on mount: \"Ralph Steiner [signed] 1922 neg and print\"; \"2\"; in pencil on verso: \"Ralph Steiner / Vintage Print\"; in hot pink felt pen \"A2 [2 circled]\"; in red felt pen \"UU\"; in black felt pen: \"Vintage print--1922-23\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310056, "title": "The Hand of Man: Art of the Industrial Age", "description": "<i>The Hand of Man: Art of the Industrial Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 31-June 28, 1987).", "opening_date": "1987-03-31T05:00:00"}, {"id": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Cleveland-born Ralph Steiner began photographing in his teens, and for many years alternated between his personal photographic work and earning a living doing mostly advertising photography. His work from the 1920s and 1930s, like that of Paul Strand and Walker Evans in that period, used the commonplace objects of urban society\u2014billboards, details of automobiles, and skyscrapers\u2014in semiabstract compositions. This picturesque vista of the New York skyline is an early work, taken while Steiner was a student at the Clarence H. White School of Photography in New York. The beautifully atmospheric composition is distinguished by its bold, graphic quality with the tugboat's smoke adding energy and movement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780868"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1985.\" <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 2 (1986): 26-71.", "page_number": "p. 66, no. 114", "url": "www.jstor.org/stable/25159930"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 330", "url": ""}], "url": "https://clevelandart.org/art/1985.46", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152654, "creators": [{"id": 944, "description": "Ralph Steiner (American, 1899\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ralph Steiner American, 1899-1986 Ralph Steiner (born in Cleveland) was a modernist photographer and filmmaker known for his clear, sharply focused images of everyday America. Having developed an early interest in photography, Steiner spent the year following graduation from Dartmouth College studying at the Clarence H. White School of Photography in New York (1921-22). He worked as a plate engraver at the Manhattan Photogravure Company, then undertook a career as a magazine and advertising photographer. Deeply impressed by the technical quality of Paul Strand's pictures, Steiner spent the summer and early fall of 1929 improving his own technical skills. That same year he also began experimenting with filmmaking, producing the avant-garde film H2O. During the 1930s he continued to make films, producing Surf and Seaweed, Mechanical Principles, and Pie in the Sky. In 1935 Steiner joined Strand as a cameraman on Pare Lorentz's documentary film, The Plow that Broke the Plains, and several years later collaborated with photographer Willard Van Dyke on The City, a documentary shown at the 1939 New York World's Fair. In the early 1940s Steiner moved to Hollywood, where he worked for mgm and rko. Upon his return to New York later in the decade, he resumed his career as a commercial photographer. During the 1960s he was able to spend more time doing his own work, producing both photographs and films. His autobiography, A Point of View (1978), was followed by a book of his cloud photographs, In Pursuit of Clouds (1985). M.M.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-03-25T00:00:00", "sortable_date": 1922, "date_added_to_oa": null, "date_text": "1922", "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": "2026-05-01 06:51:18.579000"}, {"id": 153656, "accession_number": "1987.18", "share_license_status": "CC0", "tombstone": "Newhaven Fishwives, Jeanie Wilson and Annie Linton, 1845. David Octavius Hill (British, 1802\u20131870), and Robert Adamson (British, 1821\u20131848). Salted paper print from calotype negative; image: 29.5 x 14.4 cm (11 5/8 x 5 11/16 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1987.18", "current_location": null, "title": "Newhaven Fishwives, Jeanie Wilson and Annie Linton", "creation_date": "1845", "creation_date_earliest": 1845, "creation_date_latest": 1845, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "salted paper print from calotype negative", "support_materials": [], "department": "Photography", "collection": "PH - British 19th Century", "type": "Photograph", "measurements": "Image: 29.5 x 14.4 cm (11 5/8 x 5 11/16 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)", "dimensions": {"image": {"height": 0.295, "height_inch": 11, "height_inch_fraction": 0.625, "width": 0.144, "width_inch": 5, "width_inch_fraction": 0.6875}, "matted": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on recto: \"H / 3 / 99\"; \"Jeannie [sic] Wilson (on left)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310231, "title": "The Year in Review for 1987", "description": "<i>The Year in Review for 1987</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988).", "opening_date": "1988-02-24T05:00:00"}, {"id": 286506, "title": "Cheating Death: Portrait Photography\u2019s First Half Century", "description": "<i>Cheating Death: Portrait Photography\u2019s First Half Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 22, 2016-February 5, 2017).", "opening_date": "2016-10-22T04:00:00"}], "legacy": [{"description": "Michaelson, Katherine. A Centenary Exhibition of the Work of David Octavius Hill, 1802-1870, and Robert Adamson, 1821-1848 (Edinburgh: Scottish Arts Council, 1970). Exhibition catalogue no. 252, p. 73.", "opening_date": "1970-01-01T00:00:00"}, {"description": "Edinburgh, Scottish National Portrait Gallery, Nov. 21, 1991-Jan. 18, 1992: \"Hill and Adamson's The Fishermen and Women of Firth of Forth.\" Exhibition catalogue Plate 36.", "opening_date": "1991-11-21T00:00:00"}]}, "provenance": [{"description": "David Octavius Hill", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Royal Scottish Academy, Edinburgh", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "David Octavius Hill; Royal Scottish Academy, Edinburgh", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Hill and Adamson\u2019s four-year collaboration yielded around 3,000 photographs, including portraits of members of the middle and upper classes and, in what may be the first social documentary project, of the working class. Included in their survey of contemporary life were numerous portraits of the fishermen\u2019s wives in the villages around Edinburgh. The women, garbed in distinctive striped skirts and aprons, cleaned their husbands\u2019 catch, then carried it in wicker baskets to the city where they offered it for sale. They were reported to be hard bargainers. Hill and Adamson respectfully recorded not only their likenesses but also their names.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939687"], "internet_archive": ["https://archive.org/details/clevelandart-1987.18-newhaven-fishwives-j"]}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1987.\" <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 2 (1988): 30-71.", "page_number": "p. 67, no. 63", "url": "www.jstor.org/stable/25160017"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 195", "url": ""}], "url": "https://clevelandart.org/art/1987.18", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.18/1987.18_web.jpg", "width": "655", "height": "893", "filesize": "492544", "filename": "1987.18_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.18/1987.18_print.jpg", "width": "2493", "height": "3400", "filesize": "6628506", "filename": "1987.18_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.18/1987.18_full.tif", "width": "4064", "height": "5543", "filesize": "67615480", "filename": "1987.18_full.tif"}}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153656, "creators": [{"id": 156, "description": "David Octavius Hill (British, 1802\u20131870)", "extent": null, "qualifier": null, "role": "artist", "biography": "David Octavius Hill British, b. Scotland, 1802-1870; and Robert Adamson British, b. Scotland, 1821-1848\r\n\r\nBrought together out of necessity, David Octavius Hill and Robert Adamson proved to be collaborators whose work was as inspired as its impact has been long lasting. Hill was born in Perth to a family in the printing and publishing business. Trained as a painter, an occupation pursued throughout his life, Hill also was an illustrator and lithographer. His earliest work, Sketches of Scenery in Perthshire Drawn from Nature and on Stone (1821), published before he was 20, was one of the first in Britain to employ the new medium of lithography. In 1829 he helped found the Royal Scottish Academy, serving as secretary from 1830-70.\r\n\tHill turned to photography as an aid for a large group portrait of the 474 ministers who formed the new Free Church of Scotland. Noting the difficulties of such a monumental task, photographic pioneer Sir David Brewster, an associate of William Henry Fox Talbot, introduced Hill to Robert Adamson (born in Brunswick). Trained as an engineer, Adamson had learned the technique of photography from his brother John, whom Brewster had taught. The portraits necessary for Hill's work were the beginning of their collaboration, the two working in Adamson's Edinburgh studio in 1843. Hill is generally thought to be the artistic mind behind their images, while Adamson served as the technician responsible for the camera. This opinion among scholars, however, is shifting toward greater recognition of Adamson's artistic skill.\r\n\tAfter Adamson's early death in 1848, Hill stopped working entirely for 10 years before continuing in collaboration with A. McGlashan of Glasgow at a considerably diminished level. The portraits by Hill and Adamson are known for their painterly, Old Master quality and exceptional use of light and shadow. Other images include architecture, landscape, and a series on the small fishing village of Newhaven. T.W.F.", "name_in_original_language": null, "birth_year": "1802", "death_year": "1870", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 159, "description": "Robert Adamson (British, 1821\u20131848)", "extent": null, "qualifier": "and", "role": "artist", "biography": "David Octavius Hill British, b. Scotland, 1802-1870; and Robert Adamson British, b. Scotland, 1821-1848\r\n\r\nBrought together out of necessity, David Octavius Hill and Robert Adamson proved to be collaborators whose work was as inspired as its impact has been long lasting. Hill was born in Perth to a family in the printing and publishing business. Trained as a painter, an occupation pursued throughout his life, Hill also was an illustrator and lithographer. His earliest work, Sketches of Scenery in Perthshire Drawn from Nature and on Stone (1821), published before he was 20, was one of the first in Britain to employ the new medium of lithography. In 1829 he helped found the Royal Scottish Academy, serving as secretary from 1830-70.\r\n\tHill turned to photography as an aid for a large group portrait of the 474 ministers who formed the new Free Church of Scotland. Noting the difficulties of such a monumental task, photographic pioneer Sir David Brewster, an associate of William Henry Fox Talbot, introduced Hill to Robert Adamson (born in Brunswick). Trained as an engineer, Adamson had learned the technique of photography from his brother John, whom Brewster had taught. The portraits necessary for Hill's work were the beginning of their collaboration, the two working in Adamson's Edinburgh studio in 1843. Hill is generally thought to be the artistic mind behind their images, while Adamson served as the technician responsible for the camera. This opinion among scholars, however, is shifting toward greater recognition of Adamson's artistic skill.\r\n\tAfter Adamson's early death in 1848, Hill stopped working entirely for 10 years before continuing in collaboration with A. McGlashan of Glasgow at a considerably diminished level. The portraits by Hill and Adamson are known for their painterly, Old Master quality and exceptional use of light and shadow. Other images include architecture, landscape, and a series on the small fishing village of Newhaven. T.W.F.", "name_in_original_language": null, "birth_year": "1821", "death_year": "1848", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1987-03-16T00:00:00", "sortable_date": 1845, "date_added_to_oa": null, "date_text": "1845", "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": "2026-05-01 06:51:23.855000"}, {"id": 153750, "accession_number": "1987.51", "share_license_status": "CC0", "tombstone": "Dr. Johann Henning Kjetil Hjardemaal, 1833. Christen K\u00f8bke (Danish, 1810\u20131848). Oil on fabric; framed: 45 x 37 x 7.5 cm (17 11/16 x 14 9/16 x 2 15/16 in.); unframed: 33.5 x 25.6 cm (13 3/16 x 10 1/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1987.51", "current_location": null, "title": "Dr. Johann Henning Kjetil Hjardemaal", "creation_date": "1833", "creation_date_earliest": 1833, "creation_date_latest": 1833, "artists_tags": ["male"], "culture": ["Denmark"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 45 x 37 x 7.5 cm (17 11/16 x 14 9/16 x 2 15/16 in.); Unframed: 33.5 x 25.6 cm (13 3/16 x 10 1/16 in.)", "dimensions": {"framed": {"height": 0.45, "height_inch": 17, "height_inch_fraction": 0.6875, "width": 0.37, "width_inch": 14, "width_inch_fraction": 0.5625, "depth": 0.075, "depth_inch": 2, "depth_inch_fraction": 0.9375}, "unframed": {"height": 0.335, "height_inch": 13, "height_inch_fraction": 0.1875, "width": 0.256, "width_inch": 10, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated in black paint bottom right corner: C K\u00f6bke 1833\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310231, "title": "The Year in Review for 1987", "description": "<i>The Year in Review for 1987</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988).", "opening_date": "1988-02-24T05:00:00"}, {"id": 214586, "title": "Christen K\u00f8bke, 1810-1848", "description": "<i>Christen K\u00f8bke, 1810-1848</i>. Statens Museum for Kunst (organizer) (February 10-May 27, 1996).", "opening_date": "1996-02-10T00:00:00"}], "legacy": [{"description": "Los Angeles County Museum of Art; New York, Metropolitan Museum of Art; Copenhagen, Statens Museum for Kunst. The Golden Age of Danish Painting (1993-94), 9, 151 (no. 62), 153 (repr. in reverse). (The Copenhagen venue was added at a later date.)", "opening_date": "1993-01-01T00:00:00"}, {"description": "Copenhagen, Statens Museum for Kunst. Christen K\u00f8bke 1810-1848 (1996), 356 (no. 59a, repr.).", "opening_date": "1996-01-01T00:00:00"}]}, "provenance": [{"description": "Family of the sitter, by descent to his great-grandson Nils Ehnbom, K\u00f6pingebro, Sweden. London sale, Sotheby's, 26 November 1986 (lot 4, repr.), Portrait of Dr. Johann Henning Kjetil Hjardemaal, \u00a350,600 to Artemis Fine Arts, Ltd., London. Purchased by the CMA through Eugene V. Thaw, New York, in 1987.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The sitter (1812-1844) was born on the island of Saint Thomas, at that time a colony in the Danish West Indies. He was sent to Copenhagen to study medicine and later set up practice at Satrup in Schleswig, then part of Denmark. For health reasons, he returned with his wife to the Virgin Islands, where they both died in 1844.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476003"], "internet_archive": ["https://archive.org/details/clevelandart-1987.51-dr-johann-henning-kj"]}, "citations": [{"citation": "Lurie, Ann Tzeutschler. \u201cFerdinand Georg Waldm\u00fcller in the Cleveland Museum of Art: Portrait of Crescentia, Countess Zichy (later Countess Sz\u00e9chenyi) with a Parrot and a Camellia in a Mountainous Landscape.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 1 (1994): 3-17.", "page_number": "Mentioned: p. 16", "url": "https://www.jstor.org/stable/25161437"}, {"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. 382-383, Vol. II, no. 133", "url": ""}], "url": "https://clevelandart.org/art/1987.51", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.51/1987.51_web.jpg", "width": "671", "height": "893", "filesize": "60523", "filename": "1987.51_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.51/1987.51_print.jpg", "width": "2556", "height": "3400", "filesize": "1054536", "filename": "1987.51_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.51/1987.51_full.tif", "width": "5391", "height": "7170", "filesize": "115982284", "filename": "1987.51_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.51/1987.51_alt0_web.jpg", "width": "670", "height": "893", "filesize": "445698"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.51/1987.51_alt0_print.jpg", "width": "1153", "height": "1536", "filesize": "1372067"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.51/1987.51_alt0_full.tif", "width": "1153", "height": "1536", "filesize": "5314964"}}, {"date_created": "2013-03-28T19:16:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.51/1987.51_alt1_web.jpg", "width": "664", "height": "893", "filesize": "133913"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.51/1987.51_alt1_print.jpg", "width": "2529", "height": "3400", "filesize": "1782712"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.51/1987.51_alt1_full.tif", "width": "5808", "height": "7808", "filesize": "136068492"}}, {"date_created": "2013-03-28T19:24:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.51/1987.51_alt2_web.jpg", "width": "743", "height": "893", "filesize": "100473"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.51/1987.51_alt2_print.jpg", "width": "2828", "height": "3400", "filesize": "1423842"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.51/1987.51_alt2_full.tif", "width": "5598", "height": "6730", "filesize": "113045524"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153750, "creators": [{"id": 2807, "description": "Christen K\u00f8bke (Danish, 1810\u20131848)", "extent": null, "qualifier": null, "role": "artist", "biography": "Christen K\u00f8bke was only twelve years old when he entered the Copenhagen Academy in 1822. He was first taught by landscape and portrait painter Christian August Lorentzen (1746-1828) and subsequently by Christoffer Wilhelm Eckersberg (1783-1853). The latter rigorously reformed art education at the academy, stressing study after nature and live models. Even after K\u00f8bke left the academy in 1832, he continued working with Eckersberg, becoming his friend. Eckersberg's involvement with the study of perspective and light strongly influenced K\u00f8bke's work. Until 1833 K\u00f8bke lived in the Copenhagen Citadel, where his father was a baker. Inspired by his surroundings, K\u00f8bke produced his first major paintings, such as The North Gate of the Citadel (1834, Ny Carlsberg Glyptothek, Copenhagen). The family moved not too far from the capital to the countryside near Blegdammen. There K\u00f8bke created some of his famous lake views, generally painted in the studio after many outdoors drawing and sketching sessions. Frederiksborg Castle was another important subject, and he drew and painted it many times, showing his great ability in rendering varied light and atmospheric conditions. In 1838 K\u00f8bke traveled via Dresden and Munich to Italy, where he visited Venice, Rome, and finally Naples. He studied Roman antiquities and wall paintings and used his sketches upon his return to Denmark in 1840. With his View of Marina Piccola on Capri (private collection), he tried to become a member of the Royal Academy in 1846, but the work was not accepted. He had unwillingly moved back to Copenhagen in 1845 and worked as a decorative painter in order to improve his difficult financial situation. As such, he was involved with the painted decorations of the Bertel Thorvaldsen museum. Thorvaldsen had collected the work of many of his contemporaries; however, he had never bought a work by K\u00f8bke. This illustrates the lack of recognition of K\u00f8bke's work during his lifetime. Soon after his death from pneumonia at the age of thirty-seven, K\u00f8bke was almost forgotten. At the end of the nineteenth century, this situation gradually changed, and today K\u00f8bke is regarded as one of the most important figures in Danish nineteenth-century painting.", "name_in_original_language": null, "birth_year": "1810", "death_year": "1848", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-06-10T00:00:00", "sortable_date": 1833, "date_added_to_oa": null, "date_text": "1833", "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": "2026-05-01 06:51:24.694000"}, {"id": 156632, "accession_number": "1992.330", "share_license_status": "Copyrighted", "tombstone": "Untitled (Man and Railroad Tracks), 1920. Maurice Tabard (French, 1897\u20131984). Gelatin silver print; platemark: 17.7 x 23.7 cm (6 15/16 x 9 5/16 in.); matted: 35.6 x 45.7 cm (14 x 18 in.). The Cleveland Museum of Art, John L. Severance Fund, 1992.330", "current_location": null, "title": "Untitled (Man and Railroad Tracks)", "creation_date": "1920", "creation_date_earliest": 1920, "creation_date_latest": 1920, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Platemark: 17.7 x 23.7 cm (6 15/16 x 9 5/16 in.); Matted: 35.6 x 45.7 cm (14 x 18 in.)", "dimensions": {"platemark": {"height": 0.177, "height_inch": 6, "height_inch_fraction": 0.9375, "width": 0.237, "width_inch": 9, "width_inch_fraction": 0.3125}, "matted": {"height": 0.356, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in ink on recto: \"Tabard [signed] 20\"; in pencil on verso: \"Cq 81.7 signed\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311552, "title": "Selected Acquisitions", "description": "<i>Selected Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-April 11, 1993).", "opening_date": "1993-02-09T05:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}], "legacy": [{"description": "CMA, January 28 - March 15, 1992: \"Selected Acquisitions,\" CMA Bulletin, 80 (February 1993), p. 69, no. 129.", "opening_date": "1992-01-28T00:00:00"}, {"description": "CMA, November 20,1996 - February 2, 1997: \"Legacy of Light: Master Photographs from the Cleveland Museum of Art.\"", "opening_date": "1997-02-02T00:00:00"}]}, "provenance": [{"description": "Julien Levy; Peter Hiler, Philadelphia", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Among the most significant photographs created during Maurice Tabard's long career are those he made during the 1920s. Sharing an affinity with Surrealism, this enigmatic portrayal of a man crouching amidst a series of railroad tracks suggests a mysterious dreamworld. The aerial viewpoint and unusual cropping cause the railroad tracks to appear to tip forward, while the man seems to be falling out of the photograph.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946251"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 69", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 353", "url": ""}], "url": "https://clevelandart.org/art/1992.330", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156632, "creators": [{"id": 991, "description": "Maurice Tabard (French, 1897\u20131984)", "extent": null, "qualifier": null, "role": "artist", "biography": "Maurice Tabard French, 1897-1984\r\n\r\nAvant-garde photographer Maurice Tabard (born in Lyon) experimented with a number of techniques, including solarization, double exposure, and photomontage. Tabard's father, a silk manufacturer and amateur photographer, left France with his son in 1914 to work in the silk mills of Paterson, New Jersey. The young Tabard worked as a silk designer during the day and studied painting at night. A few years later the Tabards moved to New York City, where Maurice studied briefly at the New York Institute of Photography.\r\n\tIn 1922 Tabard joined the staff of the Bachrach Studio as a portrait photographer and worked in a number of cities, including Baltimore, Washington, D.C., and Cincinnati. Six years later he returned to France, establishing himself in Paris as a freelance portrait, fashion, and advertising photographer. During these years he became associated with Man Ray and Ren\u00e9 Magritte and began experimenting with solarization and double exposure. In 1929 his photographs were included in the Film und Foto exhibition of avant-garde photography and film in Stuttgart; four years later, his article \"Notes on Solarization\" appeared in Arts et M\u00e9tiers Graphiques.\r\n\tThroughout the 1930s-50s Tabard continued to produce his own experimental work while pursuing various commercial jobs for Deberny-Peignot publishers, Path\u00f3 Films, Gaumont Films, the French government, Harper's Bazaar in Europe and the United States, and Paul Linwood Gittings Studio, New York, and worked as a freelance photographer from 1948-65. In the mid-1960s he retired from photography and in 1980 moved to Nice.\r\n\tOver the years Tabard's work was included in numerous exhibitions, including Modern European Photography at the Julian Levy Gallery, New York (1932), Photographic Surrealism at the New Gallery of Contemporary Art, Cleveland (1979), and L'Amour Fou: Photography and Surrealism at the Corcoran Gallery of Art, Washington, D.C. (1985). M.M.", "name_in_original_language": null, "birth_year": "1897", "death_year": "1984", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-02-17T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920", "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": "2026-05-01 06:51:42.734000"}, {"id": 146212, "accession_number": "1972.10.1", "share_license_status": "CC0", "tombstone": "Lions and Tigers in Peony and Bamboo (\u7261\u4e39\u306b\u5510\u7345\u5b50\u3068\u7af9\u306b\u864e\u56f3\u5c4f\u98a8), 1668. Yamaguchi Sekkei (Japanese, 1644\u20131732). One of a pair of six-panel folding screens; ink and color on gilded paper; image: 149 x 330 cm (58 11/16 x 129 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1972.10.1", "current_location": null, "title": "Lions and Tigers in Peony and Bamboo", "title_in_original_language": "\u7261\u4e39\u306b\u5510\u7345\u5b50\u3068\u7af9\u306b\u864e\u56f3\u5c4f\u98a8", "creation_date": "1668", "creation_date_earliest": 1668, "creation_date_latest": 1668, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "One of a pair of six-panel folding screens; ink and color on gilded paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Image: 149 x 330 cm (58 11/16 x 129 15/16 in.)", "dimensions": {"image": {"height": 1.49, "height_inch": 58, "height_inch_fraction": 0.6875, "width": 3.3, "width_inch": 129, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302380, "title": "Japanese Screens from the Museum and Cleveland Collections", "description": "<i>Japanese Screens from the Museum and Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-May 8, 1977).", "opening_date": "1977-03-23T05:00:00"}, {"id": 185596, "title": "Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art", "description": "<i>Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 15-September 16, 2001).", "opening_date": "2001-07-15T00:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 121)</em>. The Cleveland Museum of Art, Cleveland, OH (July 18-October 26, 2003).", "opening_date": "2003-07-18T00:00:00"}]}, "provenance": [{"description": "(Nisaburo Mizutani, Kyoto, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131972", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Sekkei lived and studied painting in Kyoto at the Kano school studio, the center of traditional painting activity in Japan since 1500. The use of gold foil as a backdrop for the frolicking animals served a practical as well as a decorative function. Because traditional Japanese rooms had no windows, interior lighting came from portable oil lamps and wax candles, whose effects were magnified by reflective surfaces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472007"], "internet_archive": ["https://archive.org/details/clevelandart-1972.10.1-lions-and-tigers-in"]}, "citations": [{"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. 383", "url": "https://archive.org/details/CMAHandbook1978/page/n403"}, {"citation": "Cunningham, Michael R. \"The Japanese Painter Yamaguchi Sekkei.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 1 (1980): 2-16.", "page_number": "Reproduced: cover, p. 3; Mentioned: p. 2-16", "url": "https://www.jstor.org/stable/25159655"}, {"citation": "Cunningham, Michael R. <em>Unfolding Beauty: Japanese Screens from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 38\u201339", "url": null}, {"citation": "Koyama-Richard, Brigitte. <em>Animaux Dans La Peinture Japonaise</em>. Lyon: Nouvelles e\u0301ditions Scala, 2020.", "page_number": "Mentioned and reproduced: pp. 102\u2013103", "url": ""}], "url": "https://clevelandart.org/art/1972.10.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.10.1/1972.10.1_web.jpg", "width": "900", "height": "444", "filesize": "182937", "filename": "1972.10.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.10.1/1972.10.1_print.jpg", "width": "3400", "height": "1677", "filesize": "1758393", "filename": "1972.10.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.10.1/1972.10.1_full.tif", "width": "15720", "height": "7752", "filesize": "365622908", "filename": "1972.10.1_full.tif"}}, "alternate_images": [{"date_created": "2015-03-04T21:08:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt0_web.jpg", "width": "900", "height": "436", "filesize": "196460"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt0_print.jpg", "width": "3400", "height": "1647", "filesize": "2285119"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt0_full.tif", "width": "3923", "height": "1900", "filesize": "22387068"}}, {"date_created": "2015-06-02T13:53:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt1_web.jpg", "width": "634", "height": "900", "filesize": "232030"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt1_print.jpg", "width": "2396", "height": "3400", "filesize": "2218643"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt1_full.tif", "width": "5449", "height": "7732", "filesize": "126428644"}}, {"date_created": "2015-06-02T14:02:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt2_web.jpg", "width": "590", "height": "900", "filesize": "200646"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt2_print.jpg", "width": "2230", "height": "3400", "filesize": "2045045"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt2_full.tif", "width": "5049", "height": "7697", "filesize": "116618416"}}, {"date_created": "2015-06-02T14:06:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt3_web.jpg", "width": "633", "height": "900", "filesize": "205446"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt3_print.jpg", "width": "2391", "height": "3400", "filesize": "2170413"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.1/1972.10.1_alt3_full.tif", "width": "5421", "height": "7708", "filesize": "125387256"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146212, "creators": [{"id": 35579, "description": "Yamaguchi Sekkei (Japanese, 1644\u20131732)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5c71\u53e3 \u96ea\u6e13", "birth_year": "1644", "death_year": "1732", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-01-31T00:00:00", "sortable_date": 1668, "date_added_to_oa": null, "date_text": "1668", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.10", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:50:40.003000"}, {"id": 142019, "accession_number": "1965.548", "share_license_status": "CC0", "tombstone": "Laban Searching for His Stolen Gods, 1753. Augustin de Saint-Aubin (French, 1736\u20131807). Oil on canvas; framed: 62 x 72 x 7.5 cm (24 7/16 x 28 3/8 x 2 15/16 in.); unframed: 45.6 x 57.3 cm (17 15/16 x 22 9/16 in.). The Cleveland Museum of Art, Gift of Ruth and Sherman E. Lee in memory of their parents, George B. and Inez W. Ward, and Emery and Adelia Lee, 1965.548", "current_location": null, "title": "Laban Searching for His Stolen Gods", "creation_date": "1753", "creation_date_earliest": 1753, "creation_date_latest": 1753, "artists_tags": ["male"], "culture": ["France, 18th century"], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - French 18th Century", "type": "Painting", "measurements": "Framed: 62 x 72 x 7.5 cm (24 7/16 x 28 3/8 x 2 15/16 in.); Unframed: 45.6 x 57.3 cm (17 15/16 x 22 9/16 in.)", "dimensions": {"framed": {"height": 0.62, "height_inch": 24, "height_inch_fraction": 0.4375, "width": 0.72, "width_inch": 28, "width_inch_fraction": 0.375, "depth": 0.075, "depth_inch": 2, "depth_inch_fraction": 0.9375}, "unframed": {"height": 0.456, "height_inch": 17, "height_inch_fraction": 0.9375, "width": 0.573, "width_inch": 22, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "CMA, September-October, 1966: \"Golden Anniversary Aquisitions\" catalogue: CMA Bulletin, LIII (September 1966), p 280, no. 66, repr. p. 220.", "opening_date": "1966-09-01T00:00:00"}, {"description": "New York, Memorial Art Gallery-Univ. of Rochester (April 30- January 29, 1988) \"La Grande Maniere\"", "opening_date": "1988-04-30T00:00:00"}]}, "provenance": [{"description": "[Victor D. Spark, New York]", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Ruth and Sherman E.Lee, by gift to the Cleveland Museum of Art, 1965.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This painting is a sketch for a special competition in 1753 held by the Royal Academy in Paris. After the Grand Prix de Rome, the academy's top student prize, an unexpected vacancy in the school's branch in Rome required the academy to hold another contest. Saint-Aubin's oil sketch was well received and he won first place among three finalists. However, his final canvas, now in the Louvre, failed to garner him this distinguished award. Saint-Aubin eventually abandoned his goal of becoming a member of the Royal Academy and joined the less-prestigious Academy of St. Luke. The subject of Saint-Aubin's sketch, selected by the academy, comes from the Old Testament book of Genesis (31:33\u201335). After toiling for Laban for 14 years, Jacob fled with his wife, Rachel, who was also Laban's daughter. Unbeknownst to Jacob, Rachel had stolen her father's idols before their departure to secure her right to her first born. Laban tracks down Jacob and Rachel and accuses them of carrying off his idols. Jacob is still unaware of Rachel's previous actions, and she has hidden the gods under a camel saddle on which she sits.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469520"], "internet_archive": ["https://archive.org/details/clevelandart-1965.548-laban-searching-for"]}, "citations": [{"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. 139", "url": "https://archive.org/details/CMAHandbook1966/page/n163"}, {"citation": "Cleveland Museum of Art, \u201cGolden Anniversary Acquisition,\u201d 1966, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr1429"}, {"citation": "Stechow, Wolfgang. \u201cBartolom\u00e9 Est\u00e9ban Murillo: Laban Searching for His Stolen Household Gods in Rachel\u2019s Tent.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 53, no. 10 (December 1966): 367\u2013377.", "page_number": "Mentioned and reproduced: p. 373-374, fig. 8", "url": "http://www.jstor.org/stable/25152127"}, {"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. 139", "url": "https://archive.org/details/CMAHandbook1969/page/n163"}, {"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. 182", "url": "https://archive.org/details/CMAHandbook1978/page/n202"}, {"citation": "The Cleveland Museum of Art.<em> The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Mentioned: p. 140; Reproduced: p. 141", "url": null}, {"citation": "Fournier, Marie. <em>Nicolas-Guy Brenet: 1728-1792. </em>Paris: Arthena, 2023.", "page_number": "Mentioned: p. 26; Reproduced: p. 27", "url": ""}], "url": "https://clevelandart.org/art/1965.548", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1965.548/1965.548_web.jpg", "width": "1094", "height": "893", "filesize": "741436", "filename": "1965.548_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.548/1965.548_print.jpg", "width": "3400", "height": "2776", "filesize": "7272438", "filename": "1965.548_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.548/1965.548_full.tif", "width": "5047", "height": "4120", "filesize": "62413408", "filename": "1965.548_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ruth and Sherman E. Lee in memory of their parents, George B. and Inez W. Ward, and Emery and Adelia Lee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142019, "creators": [{"id": 57157, "description": "Augustin de Saint-Aubin (French, 1736\u20131807)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1736", "death_year": "1807", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 1753, "date_added_to_oa": null, "date_text": "1753", "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": ["Laban Searching for His Household Gods", "Laban Cherchant ses Dieux"], "is_highlight": false, "updated_at": "2026-05-01 06:50:19.018000"}, {"id": 109968, "accession_number": "1928.571", "share_license_status": "CC0", "tombstone": "Fan Dancer, 1928. Waylande Gregory (American, 1905\u20131971), Cowan Pottery Studio (America, Rocky River, Ohio, 1920\u20131931). Glazed ceramic; overall: 30.5 x 15.2 cm (12 x 6 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1928.571", "current_location": null, "title": "Fan Dancer", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "glazed ceramic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 30.5 x 15.2 cm (12 x 6 in.)", "dimensions": {"overall": {"height": 0.305, "height_inch": 12, "height_inch_fraction": 0.0, "width": 0.152, "width_inch": 6, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 379510, "title": "The May Show: 10th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 10th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 25-June 3, 1928).", "opening_date": "1928-04-25T05:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; March 28 - July 18, 2004. \"Burchfield to Schreckengost: Cleveland Art of the Jazz Age\", no exhibition catalogue.", "opening_date": "2004-03-28T00:00:00"}]}, "provenance": [{"description": "Purchased from the 10th Exhibition of Cleveland Artists and Craftsmen.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A stamp on the bottom of this ceramic sculpture indicates that it was produced at the Cowan Pottery studios. Although unsigned, it was most likely designed by Waylande Gregory, one of the studio\u2019s premiere artists. In 1928 the studio\u2019s founder, R. Guy Cowan, brought Gregory to Cleveland from Chicago, where he was developing a reputation as a talented young sculptor. Cowan Pottery, located in Lakewood (1912\u201317) and later Rocky River (1919\u201332), Ohio, began producing ceramic sculpture in the mid-1920s, launching its most fertile creative period. Cowan employed a large team of talented artists at the studio, including Walter Sinz, Thelma Frazier Winter, and Viktor Schreckengost. The studio brought national fame to Cleveland ceramists, but was forced to close due to economic circumstances in 1932.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002241"], "internet_archive": ["https://archive.org/details/clevelandart-1928.571-fan-dancer"]}, "citations": [{"citation": "R. Guy Cowan Entry Card to 1928 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS01491/page/n1"}], "url": "https://clevelandart.org/art/1928.571", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1928.571/1928.571_web.jpg", "width": "631", "height": "900", "filesize": "150725", "filename": "1928.571_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.571/1928.571_print.jpg", "width": "2383", "height": "3400", "filesize": "703154", "filename": "1928.571_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.571/1928.571_full.tif", "width": "4733", "height": "6752", "filesize": "95898220", "filename": "1928.571_full.tif"}}, "alternate_images": [{"date_created": "2019-10-15T19:53:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt0_web.jpg", "width": "543", "height": "900", "filesize": "132342"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt0_print.jpg", "width": "2053", "height": "3400", "filesize": "539160"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt0_full.tif", "width": "4418", "height": "7316", "filesize": "96992096"}}, {"date_created": "2019-10-15T19:54:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt1_web.jpg", "width": "633", "height": "900", "filesize": "137240"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt1_print.jpg", "width": "2390", "height": "3400", "filesize": "585937"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt1_full.tif", "width": "4765", "height": "6780", "filesize": "96945952"}}, {"date_created": "2019-10-15T19:56:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt2_web.jpg", "width": "680", "height": "900", "filesize": "146460"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt2_print.jpg", "width": "2568", "height": "3400", "filesize": "671329"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt2_full.tif", "width": "5268", "height": "6974", "filesize": "110243448"}}, {"date_created": "2019-10-15T19:57:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt3_web.jpg", "width": "900", "height": "689", "filesize": "155437"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt3_print.jpg", "width": "3400", "height": "2603", "filesize": "798685"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.571/1928.571_alt3_full.tif", "width": "4439", "height": "3398", "filesize": "45277488"}}], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109968, "creators": [{"id": 18592, "description": "Waylande Gregory (American, 1905\u20131971)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1905", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 681237, "description": "Cowan Pottery Studio (America, Rocky River, Ohio, 1920\u20131931)", "extent": null, "qualifier": null, "role": "maker", "biography": "The Cowan Pottery Studio was founded by R. Guy Cowan in Lakewood, Ohio, United States in 1912. It moved to Rocky River, Ohio in 1920, and operated until 1931, when the financial stress of the Great Depression resulted in its bankruptcy. Cowan Pottery produced both artistic and commercial work in a variety of styles influenced by the Arts and Crafts Movement, Art Deco, Chinese ceramics, and modern sculpture. <br> <br>During its two decades of operation, a number of well-known Cleveland School artists worked with Cowan at the studio: Elizabeth Anderson, Arthur Eugene Baggs, Alexander Blazys, Paul Bogatay, Edris Eckhardt, Waylande Gregory, A. Drexler Jacobson, Raoul Josset, Paul Manship, Jos\u00e9 Martin, Herman Matzen, F. Luis Mora, Elmer L. Novotny, Margaret Postgate, Stephen Rebeck, Guy L. Rixford, Viktor Schreckengost, Elsa Vick Shaw, Walter Sinz, Frank N. Wilcox, H. Edward Winter, and Thelma Frazier Winter. With the exception of Guy Cowan, himself, Waylande Gregory designed more pieces for the pottery than anyone else. Among Cowan's finest pieces were three limited edition figures relating to dance, including \"Salome\" (1928), \"The Nautch Dancer,\" (1930), and \"The Burlesque Dancer,\" (1930). For the last two, Gregory made sketches from the side of the stage of the well-known Ziegfeld Follies star, Gilda Grey, when she was performing in Cleveland.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1928-11-16T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:47:27.531000"}, {"id": 114142, "accession_number": "1933.401", "share_license_status": "CC0", "tombstone": "A View from Bald Mountain, Orange County, N.Y., 1843. Jasper F. Cropsey (American, 1823\u20131900). Pen and black ink, and brown wash heightened with white, over traces of graphite; sheet: 24.2 x 37.8 cm (9 1/2 x 14 7/8 in.). The Cleveland Museum of Art, Gift of J. W. L. Jones, 1933.401", "current_location": null, "title": "A View from Bald Mountain, Orange County, N.Y.", "creation_date": "1843", "creation_date_earliest": 1843, "creation_date_latest": 1843, "artists_tags": ["male"], "culture": ["America"], "technique": "pen and black ink, and brown wash heightened with white, over traces of graphite", "support_materials": [{"description": "beige(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 24.2 x 37.8 cm (9 1/2 x 14 7/8 in.)", "dimensions": {"sheet": {"height": 0.242, "height_inch": 9, "height_inch_fraction": 0.5, "width": 0.378, "width_inch": 14, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed, lower right, in black ink: \"A View from Bald Mountain/Orange County N.Y/J. F. C. Oct 3. 1843\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "On verso, by artist, across center, in graphite: \"A View from Bald Mountain with Long Pond in the distance/ Orange County N.Y. /Oct 3rd 1843 [year underlined]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 347490, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 17-August 24, 1942).", "opening_date": "1942-06-17T04:00:00"}, {"id": 702657, "title": "Artists of the Hudson River School", "description": "<i>Artists of the Hudson River School</i>. Middletown Thrall Library, Middletown, NY (organizer) (October 1-31, 1958).", "opening_date": "1958-10-01T04:00:00"}, {"id": 191183, "title": "American Drawings from the Permanent Collection", "description": "<i>American Drawings from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 12, 1998).", "opening_date": "1998-04-19T00:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of William P. Wright, Weehawken, NJ", "citations": [], "footnotes": null, "date": "?\u2013?", "sortorder": 1}, {"description": "Mr. J.W.L. Jones, Tiffin, OH, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?\u20131933", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 28, 1933\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Cropsey practiced architecture but painted in his spare time, exhibiting a landscape painting to favorable reviews at the National of Design, New York, in 1843. This view of Orange County, New York, is one of Cropsey\u2019s earliest known works. Commanding trees and rocks in the foreground are rapidly indicated, while carefully rendered topographical details in the distant landscape reveal greater attention to nature\u2019s complexity and expanse. This drawing provided the basis for an oil painting of 1845, View of Greenwood Lake, New Jersey. Cropsey became a leading artist of the Hudson River school in the 1840s and 1850s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80006791"], "internet_archive": ["https://archive.org/details/clevelandart-1933.401-a-view-from-bald-mou"]}, "citations": [{"citation": "Prasse, Leona E. \u201cA Drawing by Jaspar Francis Cropsey in the Museum Collection.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 24, no. 6 (1937).", "page_number": "p. 98\u2013101", "url": "http://www.jstor.org/stable/25137855."}], "url": "https://clevelandart.org/art/1933.401", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1933.401/1933.401_web.jpg", "width": "1263", "height": "819", "filesize": "175246", "filename": "1933.401_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1933.401/1933.401_print.jpg", "width": "3400", "height": "2205", "filesize": "1256586", "filename": "1933.401_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1933.401/1933.401_full.tif", "width": "7741", "height": "5022", "filesize": "116647896", "filename": "1933.401_full.tif"}}, "alternate_images": [], "creditline": "Gift of J. W. L. Jones", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114142, "creators": [{"id": 2599, "description": "Jasper F. Cropsey (American, 1823\u20131900)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1823", "death_year": "1900", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1933-12-28T00:00:00", "sortable_date": 1843, "date_added_to_oa": null, "date_text": "1843", "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": "2026-05-01 06:47:44.105000"}, {"id": 165150, "accession_number": "2007.151", "share_license_status": "Copyrighted", "tombstone": "Carousel Horse, 1929. Roger Parry (French, 1905\u20131977). Gelatin silver print; image: 22.5 x 16.8 cm (8 7/8 x 6 5/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.151. \u00a9  Minist\u00e8re de la Culture / M\u00e9diath\u00e8que du Patrimoine, Dist. RMN ", "current_location": null, "title": "Carousel Horse", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 22.5 x 16.8 cm (8 7/8 x 6 5/8 in.)", "dimensions": {"image": {"height": 0.225, "height_inch": 8, "height_inch_fraction": 0.875, "width": 0.168, "width_inch": 6, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Minist\u00e8re de la Culture / M\u00e9diath\u00e8que du Patrimoine, Dist. RMN ", "inscriptions": [], "exhibitions": {"current": [{"id": 335757, "title": "Surr\u00e9alisme", "description": "<i>Surr\u00e9alisme</i>. Julien Levy Gallery (January 9-29, 1932).", "opening_date": "1932-01-09T05:00:00"}, {"id": 335761, "title": "Modern European Photography", "description": "<i>Modern European Photography</i>. Julien Levy Gallery (February 20-March 11, 1932).", "opening_date": "1932-02-20T05:00:00"}, {"id": 335764, "title": "The Julien Levy Collection", "description": "<i>The Julien Levy Collection</i>. Witkin Gallery (October 12-November 12, 1977).", "opening_date": "1977-10-12T04:00:00"}, {"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}], "legacy": []}, "provenance": [{"description": "The artist, Paris", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Julien Levy Gallery, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "(Witkin Gallery, New York, NY)", "citations": [], "footnotes": [], "date": "1977-1979", "sortorder": 3}, {"description": "Mark Kelman, New York, NY", "citations": [], "footnotes": null, "date": "1979", "sortorder": 4}, {"description": "Gilman Paper Company Collection, New York, NY", "citations": [], "footnotes": null, "date": "1979-2005", "sortorder": 5}, {"description": "The Metropolitan Museum of Art, New York, NY", "citations": [], "footnotes": null, "date": "2005-2006", "sortorder": 6}, {"description": "(Sotheby's, New York, NY, Feb. 15, 2006, no. 68, sold to Paul Hertzmann)", "citations": [], "footnotes": null, "date": "Feburary 15, 2006", "sortorder": 7}, {"description": "(Paul Hertzmann, San Francisco, CA)", "citations": [], "footnotes": null, "date": null, "sortorder": 8}, {"description": "David Raymond [b.1979], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2007-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A number of Surrealists photographed carousels, perhaps because of their innate surrealism: petrified animals are impaled and doomed to travel in the same circle without ever arriving. Parry photographed this horse to illustrate a deluxe version of Banalit\u00e9 (Banality), a book of poems and prose pieces by the Surrealist writer L\u00e9on-Paul Fargue. The poet reminisces about a contentious childhood competition in which he and his friends, pretending to be soldiers, won prizes by hooking rings onto lances as they rode. Parry\u2019s empty, immobile horse suggests not the joy of childhood games but instead the losses imposed by the passage of time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79993637"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "Reproduced: p. 58; mentioned p. 96; reproduced and mentioned: p. 230.", "url": null}], "url": "https://clevelandart.org/art/2007.151", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165150, "creators": [{"id": 55038, "description": "Roger Parry (French, 1905\u20131977)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1905", "death_year": "1977", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "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": "2026-05-01 06:52:44.035000"}, {"id": 146213, "accession_number": "1972.10.2", "share_license_status": "CC0", "tombstone": "Lions and Tigers in Peony and Bamboo (\u7261\u4e39\u306b\u5510\u7345\u5b50\u3068\u7af9\u306b\u864e\u56f3\u5c4f\u98a8), 1668. Yamaguchi Sekkei (Japanese, 1644\u20131732). One of a pair of six-panel folding screens; ink and color on gilded paper; image: 149 x 330 cm (58 11/16 x 129 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1972.10.2", "current_location": null, "title": "Lions and Tigers in Peony and Bamboo", "title_in_original_language": "\u7261\u4e39\u306b\u5510\u7345\u5b50\u3068\u7af9\u306b\u864e\u56f3\u5c4f\u98a8", "creation_date": "1668", "creation_date_earliest": 1668, "creation_date_latest": 1668, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "One of a pair of six-panel folding screens; ink and color on gilded paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Image: 149 x 330 cm (58 11/16 x 129 15/16 in.)", "dimensions": {"image": {"height": 1.49, "height_inch": 58, "height_inch_fraction": 0.6875, "width": 3.3, "width_inch": 129, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302380, "title": "Japanese Screens from the Museum and Cleveland Collections", "description": "<i>Japanese Screens from the Museum and Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-May 8, 1977).", "opening_date": "1977-03-23T05:00:00"}, {"id": 185596, "title": "Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art", "description": "<i>Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 15-September 16, 2001).", "opening_date": "2001-07-15T00:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 121)</em>. The Cleveland Museum of Art, Cleveland, OH (July 18-October 26, 2003).", "opening_date": "2003-07-18T00:00:00"}]}, "provenance": [{"description": "(Nisaburo Mizutani, Kyoto, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131972", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1972.11"], "did_you_know": null, "description": "Sekkei lived and studied painting in Kyoto at the Kano school studio, the center of traditional painting activity in Japan since 1500. The use of gold foil as a backdrop for the frolicking animals served a practical as well as a decorative function. Because traditional Japanese rooms had no windows, interior lighting came from portable oil lamps and wax candles, whose effects were magnified by reflective surfaces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472009"], "internet_archive": ["https://archive.org/details/clevelandart-1972.10.2-lions-and-tigers-in"]}, "citations": [{"citation": "Cunningham, Michael R. \"The Japanese Painter Yamaguchi Sekkei.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 1 (1980): 2-16.", "page_number": "Reproduced: p. 2; Mentioned: p. 2-16", "url": "https://www.jstor.org/stable/25159655"}, {"citation": "Cunningham, Michael R. <em>Unfolding Beauty: Japanese Screens from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: pp. 38\u201339", "url": null}], "url": "https://clevelandart.org/art/1972.10.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.10.2/1972.10.2_web.jpg", "width": "900", "height": "444", "filesize": "182589", "filename": "1972.10.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.10.2/1972.10.2_print.jpg", "width": "3400", "height": "1679", "filesize": "1841681", "filename": "1972.10.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.10.2/1972.10.2_full.tif", "width": "15767", "height": "7784", "filesize": "368224580", "filename": "1972.10.2_full.tif"}}, "alternate_images": [{"date_created": "2015-03-04T21:08:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt0_web.jpg", "width": "900", "height": "441", "filesize": "211069"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt0_print.jpg", "width": "3400", "height": "1665", "filesize": "2461933"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt0_full.tif", "width": "3971", "height": "1945", "filesize": "23196968"}}, {"date_created": "2015-06-02T14:52:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt1_web.jpg", "width": "633", "height": "900", "filesize": "207788"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt1_print.jpg", "width": "2393", "height": "3400", "filesize": "2170904"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt1_full.tif", "width": "5436", "height": "7723", "filesize": "125978956"}}, {"date_created": "2015-06-02T14:55:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt2_web.jpg", "width": "591", "height": "900", "filesize": "214187"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt2_print.jpg", "width": "2234", "height": "3400", "filesize": "2201566"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt2_full.tif", "width": "5084", "height": "7739", "filesize": "118067712"}}, {"date_created": "2015-06-02T14:57:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt3_web.jpg", "width": "631", "height": "900", "filesize": "235537"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt3_print.jpg", "width": "2382", "height": "3400", "filesize": "2423960"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.10.2/1972.10.2_alt3_full.tif", "width": "5413", "height": "7725", "filesize": "125479448"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146213, "creators": [{"id": 35579, "description": "Yamaguchi Sekkei (Japanese, 1644\u20131732)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5c71\u53e3 \u96ea\u6e13", "birth_year": "1644", "death_year": "1732", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-01-31T00:00:00", "sortable_date": 1668, "date_added_to_oa": null, "date_text": "1668", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.10", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:50:40.010000"}, {"id": 155965, "accession_number": "1991.251", "share_license_status": "CC0", "tombstone": "The Seven Vices: Envy, 1593. Jacob Matham (Dutch, 1571\u20131631), after Hendrick Goltzius (Dutch, 1558\u20131617). Engraving; sheet: 33.2 x 17.7 cm (13 1/16 x 6 15/16 in.); platemark: 32 x 16.3 cm (12 5/8 x 6 7/16 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Louise S. Richards, 1991.251", "current_location": null, "title": "Envy", "series": "The Seven Vices", "creation_date": "1593", "creation_date_earliest": 1593, "creation_date_latest": 1593, "artists_tags": ["male"], "culture": ["Netherlands, 16th century"], "technique": "engraving", "support_materials": [{"description": "cream(3) laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Sheet: 33.2 x 17.7 cm (13 1/16 x 6 15/16 in.); Platemark: 32 x 16.3 cm (12 5/8 x 6 7/16 in.)", "dimensions": {"sheet": {"height": 0.332, "height_inch": 13, "height_inch_fraction": 0.0625, "width": 0.177, "width_inch": 6, "width_inch_fraction": 0.9375}, "platemark": {"height": 0.32, "height_inch": 12, "height_inch_fraction": 0.625, "width": 0.163, "width_inch": 6, "width_inch_fraction": 0.4375}}, "state_of_the_work": "?/iii", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower left, in plate: 5 ; lower right, in plate: HG [in monogram] inve. ; across bottom, in plate: Invidia asperius nihil est, nec acerbius vsquani, / Tabificum pranis malum et exitiale venenum. F.E[stius].", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}, {"id": 189312, "title": "Mannerism: Italian, French, and Netherlandish Prints, 1520-1620", "description": "<i>Mannerism: Italian, French, and Netherlandish Prints, 1520-1620</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 3-October 26, 1997).", "opening_date": "1997-08-03T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; 8/3/97 - 10/26/97.  \"Mannerism:  Italian, French, and Netherlandish Prints, 1520-1620.\"", "opening_date": "1997-08-03T00:00:00"}]}, "provenance": [{"description": "Louise S. Richards, Cleveland OH", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In this print, which comes from a series of fourteen engravings, Envy is shown as an old hag eating a heart, a visual metaphor for the expression \"eating your heart out\" with resentment. Jacob Matham was Goltzius's stepson and pupil and entered his Haarlem workshop in 1581. A highly prolific engraver, Matham produced prints after artists including Michelangelo, Raphael, Abraham Bloemaert (1564\u20131651), and especially Goltzius. When Goltzius ceased his activities as a printmaker around 1600, Matham took over the workshop.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944700"], "internet_archive": ["https://archive.org/details/clevelandart-1991.251-envy"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 73", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Petrella, Sara. <em>Quand les Dieux Etaient des Monstres: La Mythologie Hybride de Natale Conti et Vincenzo Cartari</em>. Rennes: Presses universitaires de Rennes, 2022.", "page_number": "Reproduced: pl. III. 89", "url": ""}], "catalogue_raisonne": "Hollstein 136 (XI.230)", "url": "https://clevelandart.org/art/1991.251", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.251/1991.251_web.jpg", "width": "485", "height": "893", "filesize": "398942", "filename": "1991.251_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.251/1991.251_print.jpg", "width": "1848", "height": "3400", "filesize": "5631494", "filename": "1991.251_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.251/1991.251_full.tif", "width": "2859", "height": "5260", "filesize": "45146292", "filename": "1991.251_full.tif"}}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of Louise S. Richards", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155965, "creators": [{"id": 4718, "description": "Jacob Matham (Dutch, 1571\u20131631)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1571", "death_year": "1631", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68231, "description": "Hendrick Goltzius (Dutch, 1558\u20131617)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1558", "death_year": "1617", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1991-12-16T00:00:00", "sortable_date": 1593, "date_added_to_oa": null, "date_text": "1593", "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": "2026-05-01 06:51:38.042000"}, {"id": 130878, "accession_number": "1953.576", "share_license_status": "Copyrighted", "tombstone": "Sunrise Over the Little Beaver Valley, 1915. Charles Burchfield (American, 1893\u20131967). Black ink and graphite. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1953.576. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Sunrise Over the Little Beaver Valley", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "black ink and graphite", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; March 28 - July 18, 2004. \"Burchfield to Schreckengost: Cleveland Art of the Jazz Age\", no exhibition catalogue.", "opening_date": "2004-03-28T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Burchfield produced this evocative pencil and ink drawing on July 18, 1915. At the time, he was on summer break from his studies at the Cleveland School of Art (now the Cleveland Institute of Art), which he attended from 1912 to 1916. The notes about color scribbled on this drawing indicate that Burchfield must have considered it a study for a painting. The lines radiating from the sun and casting intense shadows along the trees suggest the baking heat of a summer\u2019s day.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80021962"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1953.576", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130878, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-12-15T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "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": "2026-05-01 06:49:14.854000"}, {"id": 136225, "accession_number": "1960.122", "share_license_status": "CC0", "tombstone": "Fisherman, 1906. Yamamoto Kanae (Japanese, 1882\u20131946). Woodcut. The Cleveland Museum of Art, Anonymous gift in memory of Paul O. Cartun, 1960.122", "current_location": null, "title": "Fisherman", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "woodcut", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310104, "title": "A Tradition Transformed: Japanese Prints, 1947-1987", "description": "<i>A Tradition Transformed: Japanese Prints, 1947-1987</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-April 24, 1988).", "opening_date": "1988-02-09T05:00:00"}, {"id": 188290, "title": "East Meets West:  Tradition and Innovation in Modern Japanese Prints", "description": "<i>East Meets West:  Tradition and Innovation in Modern Japanese Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 19-May 28, 2000).", "opening_date": "2000-03-19T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; March 19 - May 28, 2000.  \"East Meets West:  Tradition and Innovation in Modern Japanese Prints.\"", "opening_date": "2000-03-19T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; December 12, 2004- April 10, 2005. \"Visions of Japan: Prints and Paintings from Cleveland Collections\".", "opening_date": "2004-12-12T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This modest print marks the beginning of the <em>sosaku-hanga </em>movement which encouraged artists to carve and print woodblocks themselves.<em> Fisherman</em>, featured in the art and literary magazine <em>Myojo</em> (Morning Star) in 1904, accompanied an article describing Yamamoto\u2019s revolutionary defiance of the traditional separation between the originator of the design and the artisans who execute the print, elevating woodcuts to the level of fine art. The print is also unmistakably modern in the simple, poignant depiction of the old man of the sea and in the artist\u2019s deliberate retention of traces left by the gouge that cut the block. From the mid-19th century, when European and American artists first discovered ukiyo-e prints, Japanese pictorial conventions had a major influence on Western art. In the same way, when American naval officer Matthew Perry arrived in Japan in 1853, ending the island\u2019s 200 years of seclusion, Japanese artists began to emulate aspects of European art. Yamamoto was impacted by British printmaker William Nicholson, who in turn had derived his bold style of a flat figure against an unmodulated background from Japanese woodcuts.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80029759"], "internet_archive": ["https://archive.org/details/clevelandart-1960.122-fisherman"]}, "citations": [], "url": "https://clevelandart.org/art/1960.122", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.122/1960.122_web.jpg", "width": "614", "height": "893", "filesize": "529259", "filename": "1960.122_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.122/1960.122_print.jpg", "width": "2337", "height": "3400", "filesize": "6957041", "filename": "1960.122_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.122/1960.122_full.tif", "width": "3320", "height": "4830", "filesize": "48142620", "filename": "1960.122_full.tif"}}, "alternate_images": [{"date_created": "2005-09-01T19:43:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.122/1960.122_alt0_web.jpg", "width": "620", "height": "893", "filesize": "510326"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.122/1960.122_alt0_print.jpg", "width": "2360", "height": "3400", "filesize": "6646965"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.122/1960.122_alt0_full.tif", "width": "4096", "height": "5900", "filesize": "72532392"}}], "creditline": "Anonymous gift in memory of Paul O. Cartun", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136225, "creators": [{"id": 36031, "description": "Yamamoto Kanae (Japanese, 1882\u20131946)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5c71\u672c \u9f0e", "birth_year": "1882", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-08-13T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "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": "2026-05-01 06:49:40.660000"}, {"id": 144603, "accession_number": "1969.243", "share_license_status": "CC0", "tombstone": "Old Man Before the Log Bridge, 1819. Johann Christoph Erhard (German, 1795\u20131822). Etching. The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1969.243", "current_location": null, "title": "Old Man Before the Log Bridge", "creation_date": "1819", "creation_date_earliest": 1819, "creation_date_latest": 1819, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": "II/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio: The Cleveland Museum of Art; 8/15/04-11/14/04. \"Nature Sublime: Landscapes from the 19th Century\".  No exhibition catalogue.", "opening_date": "2004-08-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This print comes from a series of four etchings known as the \"Salzburg landscapes with large figures.\" Johann Erhard used the setting of the figures in the landscape to hint at wider concerns. This composition of an elderly man approaching a bridge may be read as a metaphor for crossing the boundary between life and death. In Erhard\u2019s oeuvre, the beauty of the landscape gives no assurance of a carefree way of life. His pessimistic outlook can be linked to his mental collapse and suicide in 1822.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79922010"], "internet_archive": ["https://archive.org/details/clevelandart-1969.243-the-old-man-before-t", "https://archive.org/details/clevelandart-1969.243-old-man-before-the-l"]}, "citations": [], "catalogue_raisonne": "Apell 92", "url": "https://clevelandart.org/art/1969.243", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.243/1969.243_web.jpg", "width": "1263", "height": "857", "filesize": "1042258", "filename": "1969.243_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.243/1969.243_print.jpg", "width": "3400", "height": "2307", "filesize": "6995525", "filename": "1969.243_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.243/1969.243_full.tif", "width": "5730", "height": "3888", "filesize": "66868780", "filename": "1969.243_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144603, "creators": [{"id": 25719, "description": "Johann Christoph Erhard (German, 1795\u20131822)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1795", "death_year": "1822", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1819, "date_added_to_oa": null, "date_text": "1819", "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": "2026-05-01 06:50:32.099000"}, {"id": 311853, "accession_number": "2018.75", "share_license_status": "CC0", "tombstone": "Caricature of Paul Gauguin, 1889. \u00c9mile Bernard (French, 1868\u20131941). Watercolor and black ink on paper; sheet: 19.9 x 15.5 cm (7 13/16 x 6 1/8 in.). The Cleveland Museum of Art, Bequest of William Kelly Simpson in memory of his wife Marilyn M. Simpson and her grandfather, John D. Rockefeller Jr., 2018.75", "current_location": null, "title": "Caricature of Paul Gauguin", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "watercolor and black ink on paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 19.9 x 15.5 cm (7 13/16 x 6 1/8 in.)", "dimensions": {"sheet": {"height": 0.199, "height_inch": 7, "height_inch_fraction": 0.8125, "width": 0.155, "width_inch": 6, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "upper edge, above image, in pen and brown ink: Caricature de P. Gauguin / in pale brown ink: (Coastal Indian)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in pen and brown ink: 1889 / E. Bernard", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "lower right: E. Bernard 89", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "verso: long inscription in pen and brown ink", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 18-June 6, 2010).", "opening_date": "2009-10-04T00:00:00"}], "legacy": [{"description": "<em>Cinquantenaire du Symbolisme</em>. Bibliotheque Nationale, Paris (1936).", "opening_date": "1936-01-01T00:00:00"}]}, "provenance": [{"description": "(Christie's, London, July 5, 1974, no. 285)", "citations": [], "footnotes": [], "date": "1974", "sortorder": 1}, {"description": "(Sotheby's, London, April 8, 1976, no. 279, sold to Dr. Anton C.R. Dreesmann, Amsterdam)", "citations": [], "footnotes": [], "date": "1976", "sortorder": 2}, {"description": "Dr. Anton C.R. Dreesmann [1923-2000], Amsterdam", "citations": [], "footnotes": [], "date": "1976-2002", "sortorder": 3}, {"description": "(Christie's, London, Dreesmann sale, April 9, 2002, no. 38, sold to William Kelly SImpson, Katonah, NY)", "citations": [], "footnotes": [], "date": "2002", "sortorder": 4}, {"description": "William Kelly Simpson [1928-2017], Katonah, NY, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2002-2018", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2018-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "\u00c9mile Bernard worked closely with Paul Gauguin in the village of Pont-Aven during the late 1880s, adopting a new style that emphasized imagination rather than observed reality. This caricatural portrait dates to their most intense period of collaboration, and shows Gauguin as the leader of a new school of painting, seated regally and holding a walking stick that resembles a scepter.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79873635"], "internet_archive": ["https://archive.org/details/clevelandart-2018.75-caricature-of-paul-g"]}, "citations": [{"citation": "Lemonedes, Heather, Belinda Thomson, Agnieszka Juszczak. <em>Paul Gauguin: the Breakthrough into Modernity</em>. Ostfildern: Hatje Cantz, 2009.", "page_number": "Mentioned: pp. 177, 238; Reproduced: p. 178, cat. 102,", "url": null}, {"citation": "Jaulme, Andr\u00e9 and Henri Moncel. <em>Cinquantenaire du symbolisme, exposition de manuscrits autographes, estampes, peintures, sculptures, \u00e9ditions rares, portraits, objets d\u2019art</em>. Paris: Biblioth\u00e8que nationale de France, 1936", "page_number": null, "url": null}, {"citation": "Sotheby's, London. <em>Impressionist and Modern Paintings, Drawings, Watercolours and Sculpture</em>. April 8, 1976. Lot 279.", "page_number": "Mentioned and Reproduced: p. 77, no. 279", "url": null}, {"citation": "Christie's, London. <em>The Dr Anton C.R. Dreesmann Collection: Impressionist &amp; Modern Art</em>. April 9, 2002. Lot 38.", "page_number": "Mentioned and Reproduced: p. 49, no. 38", "url": null}], "url": "https://clevelandart.org/art/2018.75", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.75/2018.75_web.jpg", "width": "706", "height": "900", "filesize": "203264", "filename": "2018.75_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.75/2018.75_print.jpg", "width": "2668", "height": "3400", "filesize": "2508967", "filename": "2018.75_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.75/2018.75_full.tif", "width": "4620", "height": "5888", "filesize": "81638720", "filename": "2018.75_full.tif"}}, "alternate_images": [], "creditline": "Bequest of William Kelly Simpson in memory of his wife Marilyn M. Simpson and her grandfather, John D. Rockefeller Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 311853, "creators": [{"id": 46188, "description": "\u00c9mile Bernard (French, 1868\u20131941)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1868", "death_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-06-04T00:00:00-04:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "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": "2026-05-01 06:53:51.711000"}, {"id": 120017, "accession_number": "1940.80", "share_license_status": "Copyrighted", "tombstone": "Study No. 2 (Standing Male Nude Seen from Back), 1940. William A. Van Duzer (American, 1917\u20132005). Graphite. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1940.80", "current_location": null, "title": "Study No. 2 (Standing Male Nude Seen from Back)", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["May Show", "Cleveland School", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "graphite", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 382031, "title": "The May Show: 22nd Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 22nd Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-June 9, 1940).", "opening_date": "1940-05-01T04:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 340443, "title": "Master/Apprentice: Imitation and Inspiration in the Renaissance", "description": "<i>Master/Apprentice: Imitation and Inspiration in the Renaissance</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 2019-February 23, 2020).", "opening_date": "2019-10-13T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Cleveland artist William Van Duzer probably created this graphite drawing featuring the rear view of a nude male during a life drawing class. The model\u2019s pose, contours, and prominent muscles evoke Michelangelo\u2019s <em>David</em>. Perhaps Van Duzer combined his sketch from a live model with his knowledge of Michelangelo\u2019s sculpture, gained from a visit to Italy or from photographs.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80015378"], "internet_archive": []}, "citations": [{"citation": "William A. Van Duzer Entry Card to 1940 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS05679/"}], "url": "https://clevelandart.org/art/1940.80", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120017, "creators": [{"id": 15518, "description": "William A. Van Duzer (American, 1917\u20132005)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1917", "death_year": "2005", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-04-29T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "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": "2026-05-01 06:48:11.563000"}, {"id": 149345, "accession_number": "1978.169", "share_license_status": "Copyrighted", "tombstone": "New York, 1949. Elliott Erwitt (American, 1928\u20132023). Gelatin silver print; image: 24.2 x 16.2 cm (9 1/2 x 6 3/8 in.); paper: 25.2 x 20.3 cm (9 15/16 x 8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, Gift of Walter Matzner, 1978.169. \u00a9 Elliott Erwitt/MAGNUM Photos, Inc.", "current_location": null, "title": "New York", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 24.2 x 16.2 cm (9 1/2 x 6 3/8 in.); Paper: 25.2 x 20.3 cm (9 15/16 x 8 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)", "dimensions": {"image": {"height": 0.242, "height_inch": 9, "height_inch_fraction": 0.5, "width": 0.162, "width_inch": 6, "width_inch_fraction": 0.375}, "paper": {"height": 0.252, "height_inch": 9, "height_inch_fraction": 0.9375, "width": 0.203, "width_inch": 8, "width_inch_fraction": 0.0}, "matted": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Elliott Erwitt/MAGNUM Photos, Inc.", "inscriptions": [{"inscription": "Written in pencil on verso: \" [checkmark] I/XX. # 1/20 Elliott Erwitt / 317 / 27\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304286, "title": "Year in Review: 1978", "description": "<i>Year in Review: 1978</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 13-March 18, 1979).", "opening_date": "1979-02-13T05:00:00"}, {"id": 309884, "title": "Urban Vicissitudes", "description": "<i>Urban Vicissitudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-September 29, 1985).", "opening_date": "1985-07-02T04:00:00"}, {"id": 393871, "title": "A New York Minute: Street Photography, 1920\u20131950", "description": "<i>A New York Minute: Street Photography, 1920\u20131950</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-November 7, 2021).", "opening_date": "2021-07-10T04:00:00"}], "legacy": []}, "provenance": [{"description": "Walter Matzner (through Burton R. Wolf)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In this image taken inside the Metropolitan Museum of Art, Elliott Erwitt aligns himself a few paces behind Augustus Saint-Gaudens\u2019s sculpture <em>Diana.</em> The two take aim\u2014the artist with his camera and the goddess with her bow and arrow\u2014at an unsuspecting man striding down the long gallery corridor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79930437"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 147", "url": ""}], "url": "https://clevelandart.org/art/1978.169", "images": {}, "alternate_images": [], "creditline": "Gift of Walter Matzner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149345, "creators": [{"id": 113, "description": "Elliott Erwitt (American, 1928\u20132023)", "extent": null, "qualifier": null, "role": "artist", "biography": "Elliott Erwitt (American, b. France, 1928\u20132023). Elliott Erwitt was known for the wry sense of humor and irreverent view of the world revealed through his personal work. Born in Paris, during the 1940s he studied photography at Los Angeles City College and film at the New School for Social Research in New York. He worked as a cameraman in France (1949-50), as a staff photographer for Roy Stryker for the Standard Oil Company of New Jersey and the Pittsburgh Photo Library (1950-52), and as a photographic assistant in the U.S. Army Signal Corps (1951-53). After settling in New York City in the 1950s, Erwitt joined the magnum photo cooperative and began work as a photojournalist and commercial photographer. He is best known, however, for his personal photographs: humorous images of people and/or dogs that record unexpected or incongruous juxtapositions of subject, setting, and situation. Erwitt's pictures have been featured in one-person exhibitions at the Museum of Modern Art, New York (1964), the Art Institute of Chicago (1974), and the International Center of Photography, New York (1989), as well as in numerous group exhibitions. He has also made several documentary films, including Beauty Knows No Pain (1973), Arthur Penn (1970), Red, White, and Bluegrass (1973), and Beautiful, Baby, Beautiful (1980). M.M.", "name_in_original_language": null, "birth_year": "1928", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-05-07T00:00:00", "sortable_date": 1949, "date_added_to_oa": null, "date_text": "1949", "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": "1", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:50:58.013000"}, {"id": 166667, "accession_number": "2008.381", "share_license_status": "CC0", "tombstone": "Caf\u00e9 in Constantinople, 1847. Alexandre Bida (French, 1823\u20131895). Brush and black and gray ink, graphite, and stylus on white wove paper coated with a white ground; sheet: 40.7 x 29.2 cm (16 x 11 1/2 in.); image: 38.2 x 25.9 cm (15 1/16 x 10 3/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.381", "current_location": null, "title": "Caf\u00e9 in Constantinople", "creation_date": "1847", "creation_date_earliest": 1847, "creation_date_latest": 1847, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "brush and black and gray ink, graphite, and stylus on white wove paper coated with a white ground", "support_materials": [{"description": "white wove paper coated with a white ground", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 40.7 x 29.2 cm (16 x 11 1/2 in.); Image: 38.2 x 25.9 cm (15 1/16 x 10 3/16 in.)", "dimensions": {"sheet": {"height": 0.407, "height_inch": 16, "height_inch_fraction": 0.0, "width": 0.292, "width_inch": 11, "width_inch_fraction": 0.5}, "image": {"height": 0.382, "height_inch": 15, "height_inch_fraction": 0.0625, "width": 0.259, "width_inch": 10, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in black ink and stylus: Alex Bida ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "Possibly Paris Salon of 1847, no. 1678.a", "opening_date": null}, {"description": "a. At least since the purchase of the drawing from Galerie Jacques Fischer-Chantal Kiener in 1978, it has been identified as one of the two drawings Bida exhibited in the 1847 Salon: no. \"1678 - Caf\u00e9 \u00e0 Constantinople; dessin.\" (The other, no. 1679, was \"Caf\u00e9 sur le Bosphore.\") The references in the Literature section here are to the Salon drawing. It should be noted that an entry on the artist by Josette Gali\u00e8gue mentions a \"Caf\u00e9 \u00e0 Constantinople\" being bought by the French government during Bida's life; see Association G\u00e9n\u00e9rale des Conservateurs des Collections Publiques de France, Dessins fran\u00e7ais du XIXe si\u00e8cle dans les mus\u00e9es de Picardie, exh. cat., Mus\u00e9e Boucher de Perthes, Abbeville et al. (1994), 43. No such drawing, however, is included in the Bida list in the Mus\u00e9e du Louvre et Mus\u00e9e de Versailles, inventaire g\u00e9n\u00e9ral des dessins de l'\u00e9cole fran\u00e7aise (Paris: R\u00e9union des Mus\u00e9es Nationaux, 1933).", "opening_date": "1994-01-01T00:00:00"}]}, "provenance": [{"description": "(Fischer-Kiener Galerie, Paris 1978)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This precise and carefully finished work reflects an unusual technique. Building up the entire area with ink and graphite over white chalk, Bida used a stylus to scratch a comprehensive network of tiny lines, providing highlights and picking out details. For his Orientalist subjects, Bida traveled repeatedly to the Near East-the first time in 1843 when he went to Constantinople and Syria from Venice. Although he closely observed the costumes and people encountered overseas, the decorative arrangements and symmetrical space in this draw-ing exemplify the theatrical aspects of Bida's art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997237"], "internet_archive": ["https://archive.org/details/clevelandart-2008.381-cafe-in-constantinop"]}, "citations": [{"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. [Cleveland, Ohio]: Cleveland Museum of Art, 2001.", "page_number": "Referenced: cat. no. 34, p. 78-79, Reproduced: p. 79", "url": null}], "url": "https://clevelandart.org/art/2008.381", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.381/2008.381_web.jpg", "width": "655", "height": "893", "filesize": "117862", "filename": "2008.381_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.381/2008.381_print.jpg", "width": "2493", "height": "3400", "filesize": "2193351", "filename": "2008.381_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.381/2008.381_full.tif", "width": "5621", "height": "7664", "filesize": "129260088", "filename": "2008.381_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T19:51:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.381/2008.381_alt0_web.jpg", "width": "653", "height": "893", "filesize": "473203"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.381/2008.381_alt0_print.jpg", "width": "2488", "height": "3400", "filesize": "7159182"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.381/2008.381_alt0_full.tif", "width": "3659", "height": "5000", "filesize": "54903372"}}, {"date_created": "2008-10-28T19:54:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.381/2008.381_alt1_web.jpg", "width": "631", "height": "893", "filesize": "405908"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.381/2008.381_alt1_print.jpg", "width": "2403", "height": "3400", "filesize": "5956582"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.381/2008.381_alt1_full.tif", "width": "3534", "height": "5000", "filesize": "53030980"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166667, "creators": [{"id": 13275, "description": "Alexandre Bida (French, 1823\u20131895)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1823", "death_year": "1895", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1847, "date_added_to_oa": null, "date_text": "1847", "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": "2026-05-01 06:52:54.623000"}, {"id": 171589, "accession_number": "2014.374", "share_license_status": "Copyrighted", "tombstone": "Ajyal (Generations), 2012. Maitha Demithan (Emirati, b. 1989). Inkjet print, made from scans processed through Photoshop; sheet: 120 x 101 cm (47 1/4 x 39 3/4 in.); framed: 119.4 x 137.8 x 5.8 cm (47 x 54 1/4 x 2 5/16 in.). The Cleveland Museum of Art, Jo Hershey Selden Fund, 2014.374", "current_location": null, "title": "Ajyal (Generations)", "creation_date": "2012", "creation_date_earliest": 2012, "creation_date_latest": 2012, "artists_tags": ["female"], "culture": ["United Arab Emirates, 21st century"], "technique": "Inkjet print, made from scans processed through Photoshop", "support_materials": [], "department": "Photography", "collection": "Photography", "type": "Photograph", "measurements": "Sheet: 120 x 101 cm (47 1/4 x 39 3/4 in.); Framed: 119.4 x 137.8 x 5.8 cm (47 x 54 1/4 x 2 5/16 in.)", "dimensions": {"sheet": {"height": 1.2, "height_inch": 47, "height_inch_fraction": 0.25, "width": 1.01, "width_inch": 39, "width_inch_fraction": 0.75}, "framed": {"height": 1.194, "height_inch": 47, "height_inch_fraction": 0.0, "width": 1.378, "width_inch": 54, "width_inch_fraction": 0.25, "depth": 0.058, "depth_inch": 2, "depth_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in white crayon on recto: \"3/3 (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 381078, "title": "Islamic art rotation", "description": "<i>Islamic art rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 18, 2014-December 14, 2015).", "opening_date": "2014-12-18T05:00:00"}, {"id": 317308, "title": "Beyond Truth: Photography after the Shutter", "description": "<i>Beyond Truth: Photography after the Shutter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2019).", "opening_date": "2019-02-10T05:00:00"}], "legacy": [{"description": "Houston Center for Photography, March 14, 2014 - May 4, 2014.", "opening_date": "2014-03-14T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In this portrait, Demithan\u2019s brother supports a tethered and hooded falcon while holding in his other hand the falcon\u2019s food, a quail, behind their father\u2019s outstretched arm, a metaphor for male elders passing their heritage to future generations. The black background and surreal presence of multiple limbs contribute to the photograph\u2019s formal grandeur and symbolic significance. Symbols of Emirati culture and the most treasured birds of prey, falcons acquired aristocratic status by the medieval Islamic era, fuelled by increased pageantry, professional trainers, and the availability of exotic birds. Falconry probably originated in Central Asia or Iran at least 4,000 years ago.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082216"], "internet_archive": []}, "citations": [{"citation": "Tannenbaum, Barbara. \u201cAcquisition Highlights 2014: Photography.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 2 (March/April 2015): 23.", "page_number": "Reproduced and Mentioned: p. 23", "url": "https://archive.org/details/CMAMM2015-02"}], "url": "https://clevelandart.org/art/2014.374", "images": {}, "alternate_images": [], "creditline": "Jo Hershey Selden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171589, "creators": [{"id": 65008, "description": "Maitha Demithan (Emirati, b. 1989)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-08-19T00:00:00", "sortable_date": 2012, "date_added_to_oa": null, "date_text": "2012", "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": "2026-05-01 06:53:29.102000"}, {"id": 154859, "accession_number": "1989.436", "share_license_status": "Copyrighted", "tombstone": "Nancy, Danville, Virginia, 1963. Emmet Gowin (American, 1941-). Gelatin silver print; image: 20.2 x 30.5 cm (7 15/16 x 12 in.); paper: 27.7 x 35.4 cm (10 7/8 x 13 15/16 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, Gift of Museum members in 1989, 1989.436", "current_location": null, "title": "Nancy, Danville, Virginia", "creation_date": "1963", "creation_date_earliest": 1963, "creation_date_latest": 1963, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 20.2 x 30.5 cm (7 15/16 x 12 in.); Paper: 27.7 x 35.4 cm (10 7/8 x 13 15/16 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.202, "height_inch": 7, "height_inch_fraction": 0.9375, "width": 0.305, "width_inch": 12, "width_inch_fraction": 0.0}, "paper": {"height": 0.277, "height_inch": 10, "height_inch_fraction": 0.875, "width": 0.354, "width_inch": 13, "width_inch_fraction": 0.9375}, "matted": {"height": 0.406, "height_inch": 16, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso: \"20 dec. 1989. 2 [circled] soft.35 @ 5.6 + 35 [unclear] 1 min/EG\"; \"NANCY, DANVILLE, VIRGINIA 1963 / Emmet Gowin [signed] 1989\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311479, "title": "Contemporary American Photographers", "description": "<i>Contemporary American Photographers</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 18, 1992-January 3, 1993).", "opening_date": "1992-11-18T05:00:00"}, {"id": 178383, "title": "Trophies of the Hunt: Capturing Nature as Art", "description": "<i>Trophies of the Hunt: Capturing Nature as Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 24-November 3, 2004).", "opening_date": "2004-07-24T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Often focusing on his wife, children, and extended family, Emmet Gowin\u2019s photographs explore themes regarding intimacy, relationships, the cycle of life, and the mundane. However, this image of his wife\u2019s niece illustrates that Gowin\u2019s photographs are not merely family snapshots. The toddler\u2019s measured approach toward the relatively enormous goat seems to be filled with trepidation, as she carefully weighs her curiosity against the larger animal\u2019s possible menace. Gowin\u2019s candid image turns the sweet, yet uneasy dialogue between his two subjects into a revealing work of art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79942552"], "internet_archive": []}, "citations": [{"citation": "E. H. T. \"The Year in Review: Selections 1989.\" <em>The Bulletin of the Cleveland Museum of Art</em> 77, no. 2 (1990): 38-78.", "page_number": "p. 71, no. 96", "url": "www.jstor.org/stable/25160106"}, {"citation": "Hinson, Tom E. \"Contemporary American Photographs: An Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 9 (1992): 306-51.", "page_number": "p. 348, no. 29", "url": "www.jstor.org/stable/25161375"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 187", "url": ""}], "url": "https://clevelandart.org/art/1989.436", "images": {}, "alternate_images": [], "creditline": "Gift of Museum members in 1989", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154859, "creators": [{"id": 147, "description": "Emmet Gowin (American, 1941-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Emmet Gowin American, 1941-\r\n\r\nFor Emmet Gowin (born in Danville, Virginia), the intimate bonds of family are at the root of human experience. His early black-and-white photographs of his wife, Edith, their two sons, Elijah and Isaac, and Edith's extended family in Danville focused on the cycle of life, how people relate to the land, and the ritual importance of the everyday. These themes pervade his life's work.\r\n\tAfter graduating from the Richmond Professional Institute (B.A. in graphic design, 1965), Gowin immersed himself in photography. He studied with Harry Callahan at the Rhode Island School of Design (M.F.A., 1967) and visited Walker Evans in New York, who praised Gowin's student work and exchanged prints. Gowin also became acquainted with Frederick Sommer and his philosophical and aesthetic ideas, a friendship that has endured.\r\n\tIn 1973 Gowin began to photograph the landscape and has since traveled the world, working extensively in the British Isles, Italy, Jordan, and Israel. Since the early 1980s, he has made aerial photographs of geographic areas that have been altered by either natural or man-made forces: the industrial-scale agriculture of the Great Plains, the U.S. -- Mexico border, the nuclear test area of Yucca Flats, and Kuwait after the Gulf War. Publications of his work include Emmet Gowin/Photographs (1976), Petra (1986), and Emmet Gowin/Photographs (1990).\r\n\tIn addition to teaching at the Dayton Art Institute in Ohio (1967-71) and Princeton University (since 1973), Gowin has taught workshops and lectured extensively throughout the United States, Europe, and Japan. A major traveling retrospective of his work was organized by the Philadelphia Museum of Art (1990), and he has had one-person exhibitions at the Dayton Art Institute (1968), the Museum of Modern Art, New York (with Robert Adams, 1971), George Eastman House, Rochester (1971), the Corcoran Gallery of Art, Washington, D.C. (1971, 1973, 1983), the Photo Gallery International, Tokyo (1989, 1993), Espace Photographie Marie de Paris (1992), the American Centers at Fokuoka, Osaka, Kyoto, Saporo, Yokohama, and Tokyo (1992-93), and the Royal Melbourne Institute of Technology (1995).\r\n\tAmong his achievements are fellowships from the John Simon Guggenheim Memorial Foundation (1974), the National Endowment for the Arts (1977, 1979), and the Pew Charitable Trust (1995), as well as the Friends of Photography Peer Award (1992). Gowin lives in Newtown, Pennsylvania. A.W.", "name_in_original_language": null, "birth_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1963, "date_added_to_oa": null, "date_text": "1963", "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": "2026-05-01 06:51:31.544000"}, {"id": 165112, "accession_number": "2007.122", "share_license_status": "Copyrighted", "tombstone": "Photo Eye, 1927. Anton Stankowski (German, 1906\u20131998). Gelatin silver print, montage, from negatives with handwork; image: 10.9 x 14.5 cm (4 5/16 x 5 11/16 in.); mounted: 35.6 x 31.9 cm (14 x 12 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.122. \u00a9 Stankowski-Stiftung", "current_location": null, "title": "Photo Eye", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "gelatin silver print, montage, from negatives with handwork", "support_materials": [], "department": "Photography", "collection": "PH - German 20th Century", "type": "Photograph", "measurements": "Image: 10.9 x 14.5 cm (4 5/16 x 5 11/16 in.); Mounted: 35.6 x 31.9 cm (14 x 12 9/16 in.)", "dimensions": {"image": {"height": 0.109, "height_inch": 4, "height_inch_fraction": 0.3125, "width": 0.145, "width_inch": 5, "width_inch_fraction": 0.6875}, "mounted": {"height": 0.356, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.319, "width_inch": 12, "width_inch_fraction": 0.5625}, "mat size": {"height": 0.406, "height_inch": 16, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Stankowski-Stiftung", "inscriptions": [{"inscription": "by the artist in pencil on top edge: \u2018A. Stankowski,\u2019 and, in blue ink (same hand) \"1100/a.\"\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}, {"id": 317308, "title": "Beyond Truth: Photography after the Shutter", "description": "<i>Beyond Truth: Photography after the Shutter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2019).", "opening_date": "2019-02-10T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Prakapas Gallery, New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Thomas Walther, Berlin", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Barry Friedman Ltd., New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Chester Dentan, Seattle, WA", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "David Raymond [b.1979], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2007-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "<em>Photo Eye</em> pays homage to Stankowski\u2019s teacher, photographer and graphic designer Max Burchartz, by appropriating a section of Burchartz\u2019s most famous photograph, a portrait of his wife. Staring up at his wife\u2019s eye is Burchartz himself, from a photo taken by Stankowski. Joining the two and creating an intense link between them is a dark area that contains an image of Burchartz\u2019s hairline, taken from another Stankowski photo.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79993534"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "Mentioned: p. 61; reproduced: p. 63; reproduced and mentioned: p. 235.", "url": null}, {"citation": "Hinson, Tom E., \"Photo Surrealism\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 3, March 2008", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM2008-03/page/6"}, {"citation": "\"Exhibitions.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 1 (January/February 2015): 3.", "page_number": "Reproduced: p. 3", "url": "https://archive.org/details/CMAMM2015-01/mode/2up"}], "url": "https://clevelandart.org/art/2007.122", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165112, "creators": [{"id": 55041, "description": "Anton Stankowski (German, 1906\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "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": "2026-05-01 06:52:43.744000"}, {"id": 146827, "accession_number": "1972.247", "share_license_status": "Copyrighted", "tombstone": "Blast Furnace Operator with \"Mud Gun\", Otis Steel Co., Cleveland, 1928. Margaret Bourke-White (American, 1904\u20131971). Vintage gelatin silver print; image: 32.6 x 25.8 cm (12 13/16 x 10 3/16 in.); matted: 61 x 50.8 cm (24 x 20 in.). The Cleveland Museum of Art, Gift of Mrs. Albert A. Levin, 1972.247. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Blast Furnace Operator with \"Mud Gun\", Otis Steel Co., Cleveland", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "Vintage gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 32.6 x 25.8 cm (12 13/16 x 10 3/16 in.); Matted: 61 x 50.8 cm (24 x 20 in.)", "dimensions": {"image": {"height": 0.326, "height_inch": 12, "height_inch_fraction": 0.8125, "width": 0.258, "width_inch": 10, "width_inch_fraction": 0.1875}, "matted": {"height": 0.61, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Written in pencil on recto of mount: \"Bourke-White [signed]\"; in pencil on verso: \"O.P./23\"; \"#3\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 443916, "title": "Photographs of Margaret Bourke-White", "description": "<i>Photographs of Margaret Bourke-White</i>. The New Gallery of Contemporary Art, Cleveland, OH (organizer) (May 8-June 5, 1976).", "opening_date": "1976-05-08T04:00:00"}, {"id": 443644, "title": "Industrial Photography of the Early 20th Century", "description": "<i>Industrial Photography of the Early 20th Century</i>. Canton Museum of Art, Canton, OH (organizer) (December 4, 1976-February 13, 1977).", "opening_date": "1976-12-04T05:00:00"}, {"id": 443401, "title": "130 Years of Ohio Photography", "description": "<i>130 Years of Ohio Photography</i>. Columbus Museum of Art, Columbus, OH (organizer) (December 1, 1978-January 3, 1979).", "opening_date": "1978-12-01T05:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 222861, "title": "Steel and Real Estate(s): Margaret Bourke-White and Corporate Culture in Cleveland", "description": "<i>Steel and Real Estate(s): Margaret Bourke-White and Corporate Culture in Cleveland</i>. The College of Wooster Art Museum, Wooster, OH (organizer) (March 27-June 5, 2000).", "opening_date": "2000-03-27T00:00:00"}], "legacy": [{"description": "Cleveland, The New Gallery of Contemporary Art, May 8 - June 5 1976: \"Margaret Bourke-White: The Cleveland Years, 1927-1930,\" and to Cleveland Restoration Festival, The Restoration Center, 1976.", "opening_date": "1976-06-05T00:00:00"}, {"description": "Canton, OH, Canton Art Institute, 1976 - 1977: \"Industrial Photograph of the Early 20th Century.\"", "opening_date": "1976-01-01T00:00:00"}, {"description": "Columbus, OH, Columbus Gallery of Fine Arts, 1978 - 1979: \"130 Years of Ohio Photography,\" catalogue repr. p. 11.", "opening_date": "1978-01-01T00:00:00"}, {"description": "Cleveland, The Kenneth C. Beck Center for the Cultural Arts, 1979: \"Selection of Photography from the Cleveland Museum of Art.\"", "opening_date": "1979-01-01T00:00:00"}, {"description": "CMA, March 31 - June 28, 1987: \"The Hand of Man: Images of the Industrial Age.\"", "opening_date": "1987-03-31T00:00:00"}, {"description": "CMA, June 28 - September 10, 1989: \"Cleveland Art Comes of Age: 1919 - 1940.", "opening_date": "1989-06-28T00:00:00"}, {"description": "Cleveland, OH: The Cleveland Museum of Art, May 19 - July 21, 1996 \"Transformations in Cleveland Art 1796-1946\", p.212, fig.220, p.245.", "opening_date": "1996-05-19T00:00:00"}, {"description": "Wooster, OH: The College of Wooster Art Museum \"Steel and Reasl Estate(s): Margaret Bourke-White and Corporate Culture in Cleveland\" 3/27-6/5/00, exh. cat. no. 80.", "opening_date": "2000-06-05T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781216"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 101", "url": ""}], "url": "https://clevelandart.org/art/1972.247", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Albert A. Levin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146827, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:50:42.659000"}, {"id": 79484, "accession_number": "2015.152", "share_license_status": "CC0", "tombstone": "The Nymphs, 1890. \u00c9mile Bernard (French, 1868\u20131941). Woodcut, hand-colored with watercolor; sheet: 59.1 x 47.8 cm (23 1/4 x 18 13/16 in.); image: 47.5 x 35 cm (18 11/16 x 13 3/4 in.). The Cleveland Museum of Art, Gift of the Print Club of Cleveland in honor of the museum's one-hundredth anniversary, 2015.152", "current_location": null, "title": "The Nymphs", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "Woodcut, hand-colored with watercolor", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Sheet: 59.1 x 47.8 cm (23 1/4 x 18 13/16 in.); Image: 47.5 x 35 cm (18 11/16 x 13 3/4 in.)", "dimensions": {"sheet": {"height": 0.591, "height_inch": 23, "height_inch_fraction": 0.25, "width": 0.478, "width_inch": 18, "width_inch_fraction": 0.8125}, "image": {"height": 0.475, "height_inch": 18, "height_inch_fraction": 0.6875, "width": 0.35, "width_inch": 13, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower right, in graphite: a Paul Gachet / Emile Bernard / 1889", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 306886, "title": "Recent Acquisitions", "description": "<i>Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-June 7, 2018).", "opening_date": "2018-03-17T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (03/17/2018-06/06/2018): \"Recent Acquisitions 2014-2017\"", "opening_date": "2018-03-17T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Before he had reached age 20, the precocious Bernard worked alongside Paul Gauguin and engaged in a lively correspondence with Vincent van Gogh. Toward the end of 1889, Van Gogh observed a shift in the young artist\u2019s work and noted in a letter to his sister, \u201cBernard is trying to do elegant, modern figures in the manner of ancient Greek and Egyptian art.\u201d The elongated, seemingly weightless forms in <em>The Nymphs </em>reflect Bernard\u2019s stylistic evolution. This vividly hand-colored woodcut is one of only three known impressions of this print.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79471767"], "internet_archive": ["https://archive.org/details/clevelandart-2015.152-the-nymphs"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Reproduced: P. 68", "url": ""}, {"citation": "Lemonedes, Heather. \u201cAcquisitions 2015.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 2 (March/April 2016): 18-19.", "page_number": "Reproduced: p. 18; Mentioned: p. 19, 22", "url": ""}], "url": "https://clevelandart.org/art/2015.152", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2015.152/2015.152_web.jpg", "width": "699", "height": "900", "filesize": "325687", "filename": "2015.152_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2015.152/2015.152_print.jpg", "width": "2639", "height": "3400", "filesize": "3338171", "filename": "2015.152_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2015.152/2015.152_full.tif", "width": "4825", "height": "6216", "filesize": "90013332", "filename": "2015.152_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Print Club of Cleveland in honor of the museum's one-hundredth anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 79484, "creators": [{"id": 46188, "description": "\u00c9mile Bernard (French, 1868\u20131941)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1868", "death_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-12-07T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "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": ["Les Nymphes or Baigneuses aux fleurs rouges"], "is_highlight": false, "updated_at": "2026-05-01 06:45:27.581000"}, {"id": 104300, "accession_number": "1922.438", "share_license_status": "CC0", "tombstone": "Twelve Etchings from Nature (The French Set): The Old Rag Woman, No. 10, 1858. James McNeill Whistler (American, 1834\u20131903). Etching with chine coll\u00e9; plate: 20.8 x 14.8 cm (8 3/16 x 5 13/16 in.); sheet: 27.3 x 20.8 cm (10 3/4 x 8 3/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Ralph King, 1922.438", "current_location": null, "title": "The Old Rag Woman, No. 10", "series": "Twelve Etchings from Nature (The French Set)", "creation_date": "1858", "creation_date_earliest": 1858, "creation_date_latest": 1858, "artists_tags": ["male"], "culture": ["America"], "technique": "etching with chine coll\u00e9", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Plate: 20.8 x 14.8 cm (8 3/16 x 5 13/16 in.); Sheet: 27.3 x 20.8 cm (10 3/4 x 8 3/16 in.)", "dimensions": {"sheet": {"height": 0.273, "height_inch": 10, "height_inch_fraction": 0.75, "width": 0.208, "width_inch": 8, "width_inch_fraction": 0.1875}, "plate": {"height": 0.208, "height_inch": 8, "height_inch_fraction": 0.1875, "width": 0.148, "width_inch": 5, "width_inch_fraction": 0.8125}}, "state_of_the_work": "II/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed, lower right, in plate: Whistler [s reversed]; inscription, lower right, in plate: Imp. Delatre Rue St. Jacques. 171.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616690, "title": "Etchings and Lithographs by Whistler: Gifts and Loans of Mr. and Mrs. Ralph King", "description": "<i>Etchings and Lithographs by Whistler: Gifts and Loans of Mr. and Mrs. Ralph King</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-April 2, 1923).", "opening_date": "1923-02-17T00:00:00"}, {"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": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Whistler's first set of prints, the so-called French Set, included domestic and genre scenes, studies of friends and their children, and glimpses of shadowy figures in backstreets, alleyways, and anonymous interiors. His choice of subject and treatment reflected the American ex-patriot's awareness of modern realist trends in French art. This print, made after Whistler's return to Paris from the Rhine, describes an old woman silhouetted in a doorway, thrown into relief by a shadowed interior. Bent with fatigue, she sits among bundles of scavenged rags, gathered by the poor and sold to papermakers. The image resonates with the painful combination of aging and urban poverty.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79511984"], "internet_archive": ["https://archive.org/details/clevelandart-1922.438-the-old-rag-woman-no"]}, "citations": [], "catalogue_raisonne": "Kennedy 21; Glasgow 27", "url": "https://clevelandart.org/art/1922.438", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.438/1922.438_web.jpg", "width": "647", "height": "893", "filesize": "507810", "filename": "1922.438_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.438/1922.438_print.jpg", "width": "2465", "height": "3400", "filesize": "6431913", "filename": "1922.438_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.438/1922.438_full.tif", "width": "3588", "height": "4949", "filesize": "53293524", "filename": "1922.438_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 104300, "creators": [{"id": 3330, "description": "James McNeill Whistler (American, 1834\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1834", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-12-21T00:00:00", "sortable_date": 1858, "date_added_to_oa": null, "date_text": "1858", "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": "2026-05-01 06:46:57.338000"}, {"id": 105040, "accession_number": "1923.264", "share_license_status": "CC0", "tombstone": "Crucified Man, 1550. Melchior Lorck (Danish, 1526/27\u2013after 1588), after Michelangelo Buonarroti (Italian, 1475\u20131564). Engraving. The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1923.264", "current_location": null, "title": "Crucified Man", "creation_date": "1550", "creation_date_earliest": 1550, "creation_date_latest": 1550, "artists_tags": ["male"], "culture": ["Germany"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 345024, "title": "Exhibition of Prints by the Little Masters: Prints form the Museum Collection", "description": "<i>Exhibition of Prints by the Little Masters: Prints form the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-April 24, 1938).", "opening_date": "1938-03-23T05:00:00"}, {"id": 345694, "title": "16th Century German Engravings", "description": "<i>16th Century German Engravings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1938-January 22, 1939).", "opening_date": "1938-12-13T05:00:00"}, {"id": 340443, "title": "Master/Apprentice: Imitation and Inspiration in the Renaissance", "description": "<i>Master/Apprentice: Imitation and Inspiration in the Renaissance</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 2019-February 23, 2020).", "opening_date": "2019-10-13T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In this print Danish artist Melchior Lorck isolated the figure of the Old Testament villain Haman from Michelangelo\u2019s Sistine Chapel ceiling. Lorck may have seen it in person, or in a print or drawing. He rendered the musculature and outline carefully, but less successful were his grasp of the figure\u2019s foreshortening (the rendering of a figure in perspective), and the proportions of the body in relation to the head. Artists working outside Italy around 1550 still did not generally sketch from live models, nor did they directly study anatomy, which may explain Lorck\u2019s awkward reconciliation of the form.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79516600"], "internet_archive": ["https://archive.org/details/clevelandart-1923.264-crucified-man"]}, "citations": [], "catalogue_raisonne": "Hollstein XXII.186.11", "url": "https://clevelandart.org/art/1923.264", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.264/1923.264_web.jpg", "width": "556", "height": "893", "filesize": "432333", "filename": "1923.264_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.264/1923.264_print.jpg", "width": "2117", "height": "3400", "filesize": "6228203", "filename": "1923.264_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.264/1923.264_full.tif", "width": "2784", "height": "4472", "filesize": "37382004", "filename": "1923.264_full.tif"}}, "alternate_images": [], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 105040, "creators": [{"id": 25855, "description": "Melchior Lorck (Danish, 1526/27\u2013after 1588)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1526", "death_year": "1588", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 1171, "description": "Michelangelo Buonarroti (Italian, 1475\u20131564)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1475", "death_year": "1564", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1923-06-11T00:00:00", "sortable_date": 1550, "date_added_to_oa": null, "date_text": "1550", "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": "2026-05-01 06:47:01.940000"}, {"id": 105648, "accession_number": "1923.746.9", "share_license_status": "CC0", "tombstone": "The Round Passion: Christ Presented to the People, 1509. Lucas van Leyden (Netherlandish, 1494\u2013about 1533). Engraving. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1923.746.9", "current_location": null, "title": "The Round Passion: Christ Presented to the People", "creation_date": "1509", "creation_date_earliest": 1509, "creation_date_latest": 1509, "artists_tags": ["male"], "culture": ["Netherlands, 16th century"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 345796, "title": "Prints by Lucas Van Leyden and His Contemporaries", "description": "<i>Prints by Lucas Van Leyden and His Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 28-April 2, 1939).", "opening_date": "1939-02-28T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 318307, "title": "A Lasting Impression: Gifts of the Print Club of Cleveland", "description": "<i>A Lasting Impression: Gifts of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-September 22, 2019).", "opening_date": "2019-05-05T04:00:00"}], "legacy": []}, "provenance": [{"description": "Alfred Morrison", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "O. Gerstenberg", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Alfred Morrison; O. Gerstenberg", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1795.1923", "1923.754"], "did_you_know": null, "description": "Because Lucas van Leyden usually carved his copper plates with thin, shallow lines, the plates wore down quickly; impressions this fine are especially rare. He engraved several versions of the scene of Christ presented to the people, focusing on the moment at which Christ was condemned to die on the cross. Here, he placed Christ in a shallow vestibule before an angry mob within a town and landscape setting that could be 16th-century Europe. This is one of nine engravings of the Passion of Christ in an unusual round shape; the prints feature a decorative border that was printed from a separate ring-shaped plate.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79891535"], "internet_archive": ["https://archive.org/details/clevelandart-1923.746.9-the-round-passion-ch"]}, "citations": [], "catalogue_raisonne": "Hollstein 63", "url": "https://clevelandart.org/art/1923.746.9", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.746.9/1923.746.9_web.jpg", "width": "872", "height": "893", "filesize": "657246", "filename": "1923.746.9_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.746.9/1923.746.9_print.jpg", "width": "3319", "height": "3400", "filesize": "8728306", "filename": "1923.746.9_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.746.9/1923.746.9_full.tif", "width": "3781", "height": "3873", "filesize": "43965900", "filename": "1923.746.9_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 105648, "creators": [{"id": 22613, "description": "Lucas van Leyden (Netherlandish, 1494\u2013about 1533)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1494", "death_year": "1533", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-10-22T00:00:00", "sortable_date": 1509, "date_added_to_oa": null, "date_text": "1509", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1923.746", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-05 11:11:52.741000"}, {"id": 118510, "accession_number": "1939.545", "share_license_status": "Copyrighted", "tombstone": "Standing Male Nude, 1885. Frederick William MacMonnies (American, 1863\u20131937). Charcoal and brown chalk; sheet: 61.7 x 39 cm (24 5/16 x 15 3/8 in.). The Cleveland Museum of Art, Gift of Mrs. Henry White Cannon, 1939.545", "current_location": null, "title": "Standing Male Nude", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["America"], "technique": "charcoal and brown chalk", "support_materials": [{"description": "beige(2) laid paper (modern)", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 61.7 x 39 cm (24 5/16 x 15 3/8 in.)", "dimensions": {"sheet": {"height": 0.617, "height_inch": 24, "height_inch_fraction": 0.3125, "width": 0.39, "width_inch": 15, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in graphite: MacMonnies / 1885", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 191183, "title": "American Drawings from the Permanent Collection", "description": "<i>American Drawings from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 12, 1998).", "opening_date": "1998-04-19T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; 4/19/98 - 7/12/98.  \"American Drawings from the Permanent Collection.\"", "opening_date": "1998-04-19T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The sculptor Frederick MacMonnies is chiefly known for his exuberant, sensual nudes, such as those decorating the huge fountain of 1893 for the World's Columbian Exposition in Chicago, which featured dozens of frolicsome, stark-naked female figures. Curiously, his drawings reveal a different side of his talent\u2014a detailed, slightly somber realism, which brings out the unidealized individuality of his models. ", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80013368"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1939.545", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Henry White Cannon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118510, "creators": [{"id": 3901, "description": "Frederick William MacMonnies (American, 1863\u20131937)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1863", "death_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-12-19T00:00:00", "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": "2026-05-01 06:48:02.709000"}, {"id": 118512, "accession_number": "1939.547", "share_license_status": "Copyrighted", "tombstone": "Head of a Man, 1884. Frederick William MacMonnies (American, 1863\u20131937). Charcoal (rubbed in places), with traces of brown chalk; sheet: 57.2 x 39.7 cm (22 1/2 x 15 5/8 in.). The Cleveland Museum of Art, Gift of Mrs. Henry White Cannon, 1939.547", "current_location": null, "title": "Head of a Man", "creation_date": "1884", "creation_date_earliest": 1884, "creation_date_latest": 1884, "artists_tags": ["male"], "culture": ["America"], "technique": "charcoal (rubbed in places), with traces of brown chalk", "support_materials": [{"description": "cream(3) laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 57.2 x 39.7 cm (22 1/2 x 15 5/8 in.)", "dimensions": {"sheet": {"height": 0.572, "height_inch": 22, "height_inch_fraction": 0.5, "width": 0.397, "width_inch": 15, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in graphite: Frederick MacMonnies / Munich  84 ; VERSO, lower left, in graphite: [9?]7 / 40 [sideways]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 443081, "title": "American Portrait Drawings", "description": "<i>American Portrait Drawings</i>. National Portrait Gallery, Washington, DC, Washington, DC (organizer) (May 1-August 3, 1980).", "opening_date": "1980-05-01T04:00:00"}, {"id": 191183, "title": "American Drawings from the Permanent Collection", "description": "<i>American Drawings from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 12, 1998).", "opening_date": "1998-04-19T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; 4/19/98 - 7/12/98.  \"American Drawings from the Permanent Collection.\"", "opening_date": "1998-04-19T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In this drawing, MacMonnies drew not only with the point of his charcoal but also with the side of the stick to create a sense of volume and shading. Such richly tonal charcoal drawings are characteristic of work produced at the Royal Academy in Munich, where this drawing was made.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80013374"], "internet_archive": ["https://archive.org/details/clevelandart-1939.547-head-of-a-man"]}, "citations": [], "url": "https://clevelandart.org/art/1939.547", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Henry White Cannon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118512, "creators": [{"id": 3901, "description": "Frederick William MacMonnies (American, 1863\u20131937)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1863", "death_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-12-19T00:00:00", "sortable_date": 1884, "date_added_to_oa": null, "date_text": "1884", "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": "2026-05-01 06:48:02.722000"}, {"id": 120929, "accession_number": "1941.632", "share_license_status": "CC0", "tombstone": "Spring at Cardross, 1900. Muirhead Bone (British, 1876\u20131953). Drypoint. The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1941.632", "current_location": null, "title": "Spring at Cardross", "creation_date": "1900", "creation_date_earliest": 1900, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "drypoint", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309853, "title": "Two Hundred Years of British Prints", "description": "<i>Two Hundred Years of British Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 9, 1984-February 3, 1985).", "opening_date": "1984-10-09T04:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio: The Cleveland Museum of Art; 8/15/04-11/14/04. \"Nature Sublime: Landscapes from the 19th Century\".  No exhibition catalogue.", "opening_date": "2004-08-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A Glasgow artist with architectural training, Bone began to make prints in 1898. One of his earliest drypoints, Spring at Cardross already demonstrates Bone\u2019s brilliant draftsmanship and atmospheric use of plate-tone. In abbreviated strokes, the artist described a panoramic view of the landscape of Dumbartonshire, Scotland.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016644"], "internet_archive": ["https://archive.org/details/clevelandart-1941.632-spring-at-cardross"]}, "citations": [], "catalogue_raisonne": "Dodgson 70", "url": "https://clevelandart.org/art/1941.632", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1941.632/1941.632_web.jpg", "width": "1263", "height": "647", "filesize": "610558", "filename": "1941.632_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.632/1941.632_print.jpg", "width": "3400", "height": "1741", "filesize": "3842964", "filename": "1941.632_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.632/1941.632_full.tif", "width": "5317", "height": "2723", "filesize": "43455220", "filename": "1941.632_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.632/1941.632_alt0_web.jpg", "width": "1263", "height": "576", "filesize": "599273"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.632/1941.632_alt0_print.jpg", "width": "3400", "height": "1550", "filesize": "3993986"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.632/1941.632_alt0_full.tif", "width": "5000", "height": "2280", "filesize": "34227320"}}], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120929, "creators": [{"id": 1289, "description": "Muirhead Bone (British, 1876\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-12-05T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900", "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": "2026-05-01 06:48:16.624000"}, {"id": 159286, "accession_number": "1995.79", "share_license_status": "CC0", "tombstone": "Landscape with Travelers Attacked by a Gang of Robbers, 1602. Jan van Londerseel (Dutch, 1578\u20131625), after David Vinckboons (Dutch, 1576\u20131629). Engraving. The Cleveland Museum of Art, Gift of 27 members of The Print Club of Cleveland's 1995 Low Countries Tour, 1995.79", "current_location": null, "title": "Landscape with Travelers Attacked by a Gang of Robbers", "creation_date": "1602", "creation_date_earliest": 1602, "creation_date_latest": 1602, "artists_tags": ["male"], "culture": ["Netherlands, early 17th Century"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "dimensions": {}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 188479, "title": "From Rembrandt to Rauschenberg:  Recently Acquired Prints", "description": "<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 26, 2000).", "opening_date": "2000-09-17T00:00:00"}], "legacy": [{"description": "CMA, 1996:  \"Landscape in Detail,\" September 10-Novevmber 3, 1996, no catalogue", "opening_date": "2010-09-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; September 17 - November 26, 2000.  \"From Rembrandt to Rauschenberg:  Recently Acquired Prints.\"", "opening_date": "2000-09-17T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The subject of waylaid travelers was a popular motif for Netherlandish artists, especially around 1600. As a consequence of the war with Spain, displaced mercenaries and army deserters occasionally formed bands of robbers and victimized travelers and rural inhabitants. In this engraving after a drawing by David Vinckboons, a variety of incidents take place at the edge of a dark forest interior. As women and children flee their captured wagon, two bandits aim their guns at another traveler escaping on horseback. The ominous silhouette of a dead man hangs from a tree warning the viewer of possible perils encountered in the forest. Like Coninxloo, Flemish painter David Vinckboons left Antwerp after 1585 and settled in Amsterdam in 1586.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978674"], "internet_archive": ["https://archive.org/details/clevelandart-1995.79-landscape-with-trave"]}, "citations": [], "catalogue_raisonne": "Hollstein 84", "url": "https://clevelandart.org/art/1995.79", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1995.79/1995.79_web.jpg", "width": "900", "height": "666", "filesize": "411389", "filename": "1995.79_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1995.79/1995.79_print.jpg", "width": "3400", "height": "2515", "filesize": "5130031", "filename": "1995.79_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1995.79/1995.79_full.tif", "width": "5000", "height": "3698", "filesize": "55499556", "filename": "1995.79_full.tif"}}, "alternate_images": [], "creditline": "Gift of 27 members of The Print Club of Cleveland's 1995 Low Countries Tour", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159286, "creators": [{"id": 22627, "description": "Jan van Londerseel (Dutch, 1578\u20131625)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1578", "death_year": "1625", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 22598, "description": "David Vinckboons (Dutch, 1576\u20131629)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1576", "death_year": "1629", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1602, "date_added_to_oa": null, "date_text": "1602", "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": "2026-05-01 06:52:02.242000"}, {"id": 161697, "accession_number": "2000.61", "share_license_status": "CC0", "tombstone": "Cherry Blossoms, from the series Brocades of Edo, 1903. Ikeda Terukata (Japanese, 1883\u20131921). Woodblock print, ink and color on paper; sheet: 24.9 x 37.2 cm (9 13/16 x 14 5/8 in.); image: 21.1 x 31.8 cm (8 5/16 x 12 1/2 in.). The Cleveland Museum of Art, Gift of Frederick and Tina Zwegat, 2000.61", "current_location": null, "title": "Cherry Blossoms, from the series Brocades of Edo", "creation_date": "1903", "creation_date_earliest": 1903, "creation_date_latest": 1903, "artists_tags": ["male"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Woodblock print, ink and color on paper", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Sheet: 24.9 x 37.2 cm (9 13/16 x 14 5/8 in.); Image: 21.1 x 31.8 cm (8 5/16 x 12 1/2 in.)", "dimensions": {"sheet": {"height": 0.249, "height_inch": 9, "height_inch_fraction": 0.8125, "width": 0.372, "width_inch": 14, "width_inch_fraction": 0.625}, "image": {"height": 0.211, "height_inch": 8, "height_inch_fraction": 0.3125, "width": 0.318, "width_inch": 12, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 188479, "title": "From Rembrandt to Rauschenberg:  Recently Acquired Prints", "description": "<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 26, 2000).", "opening_date": "2000-09-17T00:00:00"}, {"id": 178454, "title": "Visions of Japan: Prints and Paintings from Cleveland Collections", "description": "<i>Visions of Japan: Prints and Paintings from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2004-April 10, 2005).", "opening_date": "2004-12-12T00:00:00"}, {"id": 295705, "title": "Japanese Gallery 235 Rotation - July 2017-January 2018", "description": "<i>Japanese Gallery 235 Rotation - July 2017-January 2018</i>. The Cleveland Museum of Art (organizer) (July 15, 2017-January 2, 2018).", "opening_date": "2017-07-15T04:00:00"}], "legacy": []}, "provenance": [{"description": "Frederick and Tina Zwegat, Oberlin, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-2000", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2000-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In this print, a fashionably dressed woman holds out a parasol as she gazes at cherry blossoms. She stands close to her palanquin, which is decorated with elaborate metal fittings. Along with his wife, Ikeda Shoen (1888\u20131917), Ikeda Terukata trained with print artist Mizuno Toshikata (1866\u20131908) and focused on designs of beautiful women. He exhibited and won prizes in both the annual Ministry of Education Exhibition (Bunten) and Japan Art Institute Exhibition (Inten).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984753"], "internet_archive": ["https://archive.org/details/clevelandart-2000.61-cherry-blossoms-from"]}, "citations": [], "url": "https://clevelandart.org/art/2000.61", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2000.61/2000.61_web.jpg", "width": "1263", "height": "857", "filesize": "782978", "filename": "2000.61_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2000.61/2000.61_print.jpg", "width": "3400", "height": "2307", "filesize": "5701326", "filename": "2000.61_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2000.61/2000.61_full.tif", "width": "5000", "height": "3392", "filesize": "50907056", "filename": "2000.61_full.tif"}}, "alternate_images": [{"date_created": "2005-09-02T16:22:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2000.61/2000.61_alt0_web.jpg", "width": "1263", "height": "874", "filesize": "791044"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2000.61/2000.61_alt0_print.jpg", "width": "3400", "height": "2354", "filesize": "5552580"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2000.61/2000.61_alt0_full.tif", "width": "5341", "height": "3698", "filesize": "59284180"}}], "creditline": "Gift of Frederick and Tina Zwegat", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161697, "creators": [{"id": 38538, "description": "Ikeda Terukata (Japanese, 1883\u20131921)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6c60\u7530\u8f1d\u65b9", "birth_year": "1883", "death_year": "1921", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67349, "description": "Akiyama Buemon", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2000-06-05T00:00:00", "sortable_date": 1903, "date_added_to_oa": null, "date_text": "1903", "collapse_artists": true, "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": ["Brocade of Edo: Cherry Blossoms"], "is_highlight": false, "updated_at": "2026-05-01 06:52:19.930000"}, {"id": 153254, "accession_number": "1986.219", "share_license_status": "Copyrighted", "tombstone": "\"Hot Pigs,\" Otis Steel Company, Cleveland, 1928. Margaret Bourke-White (American, 1904\u20131971). Gelatin silver print; image: 34.3 x 25.7 cm (13 1/2 x 10 1/8 in.); matted: 61 x 50.8 cm (24 x 20 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Robert M. Levin, 1986.219. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "\"Hot Pigs,\" Otis Steel Company, Cleveland", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 34.3 x 25.7 cm (13 1/2 x 10 1/8 in.); Matted: 61 x 50.8 cm (24 x 20 in.)", "dimensions": {"image": {"height": 0.343, "height_inch": 13, "height_inch_fraction": 0.5, "width": 0.257, "width_inch": 10, "width_inch_fraction": 0.125}, "matted": {"height": 0.61, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Written in pencil on recto: \"Bourke-White [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}], "legacy": [{"description": "CMA, February 4 - March 15, 1987: \"Year in Review 1986,\" CMA Bulletin, 74 (February 1987), p. 63, no. 59.", "opening_date": "1987-02-04T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A leading photographer of her generation, Bourke-White launched her highly successful career in Cleveland. Captivated by dramatic scenes of industrial production, she received permission to photograph activities at the Otis Steel Company, a major firm with a mill located on the shore of Lake Erie and another on the bank of the Cuyahoga River. These images caught the attention of Henry Luce, founder of Time, Fortune, and Life magazines, who hired her to work as a photojournalist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79938867"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 102", "url": ""}], "url": "https://clevelandart.org/art/1986.219", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Robert M. Levin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153254, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-03-16T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:51:21.642000"}, {"id": 156856, "accession_number": "1992.71", "share_license_status": "CC0", "tombstone": "Ghost and Oil Lamp, 1810. Tani Bun'ichi (Japanese, 1787\u20131818). Hanging scroll, ink, color, and gold on silk; painting only: 109.2 x 48.9 cm (43 x 19 1/4 in.); including mounting: 187.3 x 65.4 cm (73 3/4 x 25 3/4 in.). The Cleveland Museum of Art, Kelvin Smith Fund, 1992.71", "current_location": null, "title": "Ghost and Oil Lamp", "creation_date": "1810", "creation_date_earliest": 1810, "creation_date_latest": 1810, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "hanging scroll, ink, color, and gold on silk", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Painting only: 109.2 x 48.9 cm (43 x 19 1/4 in.); Including mounting: 187.3 x 65.4 cm (73 3/4 x 25 3/4 in.)", "dimensions": {"painting only": {"height": 1.092, "height_inch": 43, "height_inch_fraction": 0.0, "width": 0.489, "width_inch": 19, "width_inch_fraction": 0.25}, "including mounting": {"height": 1.873, "height_inch": 73, "height_inch_fraction": 0.75, "width": 0.654, "width_inch": 25, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "artist's inscription on stem of oil lamp", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 453007, "title": "Julie Mehretu: Portals", "description": "<i>Julie Mehretu: Portals</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 16-November 13, 2022).", "opening_date": "2022-07-16T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 236)</em>. The Cleveland Museum of Art, Cleveland, OH (July 21, 2014-January 13, 2015).", "opening_date": "2014-07-21T00:00:00"}]}, "provenance": [{"description": "(Andreas Leisinger, Tokyo, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1992", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1992-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Tani Bun\u2019ichi was the adopted son of Tani Buncho (1763-1840), a master painter and connoisseur. A Bun\u2019ichi painting remarkably similar to this one that depicts a ghost by a lacquer lamp stand, is in the collection the Tokyo temple Zensho-an. That painting once belonged to Sanyutei Encho (1839-1900), a famed raconteur of ghost stories who donated his collection of ghost paintings to the temple. An inscription in gold on the lamp stand in this painting, identical in content to that on the Zensho-an painting, indicates that it was executed in the 12th month of 1810. Bun\u2019ichi explains that he did not like painting ghosts, but tried it out after listening to a person by the name of Ono.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476936"], "internet_archive": ["https://archive.org/details/clevelandart-1992.71-ghost-and-oil-lamp"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 78", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1992.71", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1992.71/1992.71_web.jpg", "width": "416", "height": "900", "filesize": "83564", "filename": "1992.71_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1992.71/1992.71_print.jpg", "width": "1571", "height": "3400", "filesize": "963842", "filename": "1992.71_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1992.71/1992.71_full.tif", "width": "3573", "height": "7735", "filesize": "82940472", "filename": "1992.71_full.tif"}}, "alternate_images": [{"date_created": "2004-02-12T20:15:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.71/1992.71_alt0_web.jpg", "width": "394", "height": "893", "filesize": "175740"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.71/1992.71_alt0_print.jpg", "width": "1499", "height": "3400", "filesize": "2420266"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.71/1992.71_alt0_full.tif", "width": "2205", "height": "5000", "filesize": "33095600"}}, {"date_created": "2004-02-12T20:05:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.71/1992.71_alt1_web.jpg", "width": "309", "height": "893", "filesize": "182640"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.71/1992.71_alt1_print.jpg", "width": "1178", "height": "3400", "filesize": "2475309"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.71/1992.71_alt1_full.tif", "width": "1733", "height": "5000", "filesize": "26016288"}}, {"date_created": "2014-07-17T10:31:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.71/1992.71_alt2_web.jpg", "width": "313", "height": "900", "filesize": "83570"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.71/1992.71_alt2_print.jpg", "width": "1184", "height": "3400", "filesize": "872982"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.71/1992.71_alt2_full.tif", "width": "2697", "height": "7745", "filesize": "62693920"}}], "creditline": "Kelvin Smith Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156856, "creators": [{"id": 35710, "description": "Tani Bun'ichi (Japanese, 1787\u20131818)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u8c37 \u6587\u4e00", "birth_year": "1787", "death_year": "1818", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-05-18T00:00:00", "sortable_date": 1810, "date_added_to_oa": null, "date_text": "1810", "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": "2026-05-01 06:51:44.553000"}, {"id": 159150, "accession_number": "1995.34", "share_license_status": "CC0", "tombstone": "View of Luxor, 1854. John Beasley Greene (American, 1832\u20131856). Salted paper print from waxed paper negative; image: 23 x 30.5 cm (9 1/16 x 12 in.); matted: 50.8 x 61 cm (20 x 24 in.). The Cleveland Museum of Art, The A. W. Ellenberger, Sr., Endowment Fund, 1995.34", "current_location": null, "title": "View of Luxor", "creation_date": "1854", "creation_date_earliest": 1854, "creation_date_latest": 1854, "artists_tags": ["male"], "culture": ["America"], "technique": "salted paper print from waxed paper negative", "support_materials": [], "department": "Photography", "collection": "PH - American 19th Century", "type": "Photograph", "measurements": "Image: 23 x 30.5 cm (9 1/16 x 12 in.); Matted: 50.8 x 61 cm (20 x 24 in.)", "dimensions": {"image": {"height": 0.23, "height_inch": 9, "height_inch_fraction": 0.0625, "width": 0.305, "width_inch": 12, "width_inch_fraction": 0.0}, "matted": {"height": 0.508, "height_inch": 20, "height_inch_fraction": 0.0, "width": 0.61, "width_inch": 24, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written on negative: \"43\", \"J.B. Greene\"; written in pencil on recto: \"Vue de Luxor\"; \"7 [underlined]\"; \"43\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 202979, "title": "Pyramids & Sphinxes: Views of Egypt", "description": "<i>Pyramids & Sphinxes: Views of Egypt</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-May 24, 2016).", "opening_date": "2016-02-06T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "On the first of three trips to Egypt, John Beasley Greene created some 200 photographs. His work rarely documented favorite tourist sites in a conventionally descriptive manner; rather, he concentrated on poetic landscapes and archaeologically significant monuments. In this haunting photograph of Luxor, Greene's ability to depict expansive pictorial space is clearly evident. By surrounding the low, blocklike forms of the site's architecture with large vistas of vacant desert and sky, he emphasized a feeling of isolation and abandonment.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978307"], "internet_archive": ["https://archive.org/details/clevelandart-1995.34-view-of-luxor"]}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 190", "url": ""}], "url": "https://clevelandart.org/art/1995.34", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1995.34/1995.34_web.jpg", "width": "1178", "height": "893", "filesize": "614939", "filename": "1995.34_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1995.34/1995.34_print.jpg", "width": "3400", "height": "2577", "filesize": "5053167", "filename": "1995.34_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1995.34/1995.34_full.tif", "width": "5344", "height": "4050", "filesize": "64958304", "filename": "1995.34_full.tif"}}, "alternate_images": [], "creditline": "The A. W. Ellenberger, Sr., Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159150, "creators": [{"id": 439, "description": "John Beasley Greene (American, 1832\u20131856)", "extent": null, "qualifier": null, "role": "artist", "biography": "John Beasley Greene American, b. France, 1832-1856\r\n\r\nJohn Beasley Greene was born in France to American parents; his father, John Bulkley Greene, was a Boston banker working in Le Havre and then Paris. The younger Greene was a founding member of the Soci\u00e9t\u00e9 fran\u00e7aise de photographie and joined the Soci\u00e9t\u00e9 asiatique. He combined an early interest in archaeology and photography, working in Egypt, the Middle East, and North Africa in the brief period from 1853 until his premature death in 1856. During this time, Greene produced a body of work using the waxed paper process, outstanding in its aesthetic and technical merits and unusual in its clearly personal approach. Frequently spare and almost minimalist to a modern eye, his work emphasizes abstract form, tempered by the visual textures of his negatives and paper.\r\n\tIn 1854 Blanquart-\u00c9vrard published some 94 of Greene's prints in Le Nil. Monuments et paysages. Explorations photographiques. Although similar in subject to that of Maxime Du Camp and F\u00e9lix Teynard, Greene's work remains unique\u2014depicting poetic landscapes of the Nile and the distant desert inhabited by ancient monuments. T.W.F.", "name_in_original_language": null, "birth_year": "1832", "death_year": "1856", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-06-07T00:00:00", "sortable_date": 1854, "date_added_to_oa": null, "date_text": "1854", "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": "2026-05-01 06:52:01.287000"}, {"id": 161770, "accession_number": "2001.110", "share_license_status": "Copyrighted", "tombstone": "Portrait of a Woman in Profile, Turned to the Left, 1890. William Sommer (American, 1867\u20131949). Charcoal with stumping and erasure; sheet: 50.8 x 39 cm (20 x 15 3/8 in.). The Cleveland Museum of Art, Gift of Joseph Erdelac in memory of Ed Henning, 2001.110", "current_location": null, "title": "Portrait of a Woman in Profile, Turned to the Left", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, 19th century"], "technique": "charcoal with stumping and erasure", "support_materials": [{"description": "light brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 50.8 x 39 cm (20 x 15 3/8 in.)", "dimensions": {"sheet": {"height": 0.508, "height_inch": 20, "height_inch_fraction": 0.0, "width": 0.39, "width_inch": 15, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, upper right, in charcoal: May 30--1890-- / Munich / William Sommer [the 18 added later in pen and black ink]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 223002, "title": "Pioneering Modernism; Post Impressionism in Cleveland, 1908-1913", "description": "<i>Pioneering Modernism; Post Impressionism in Cleveland, 1908-1913</i>. Cleveland Artists Foundation, Lakewood, OH (organizer) (May 24-July 27, 2013).", "opening_date": "2013-05-24T00:00:00"}], "legacy": [{"description": "Cleveland Artists Foundation, Lakewood, OH (5/24/2013 - 7/27/2013):  \"Pioneering Modernism; Post Impressionism in Cleveland, 1908-1913\"", "opening_date": "2013-05-24T00:00:00"}]}, "provenance": [{"description": "Joseph M. Erdelac [1915-2005], Cleveland, OH, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2001", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland,OH", "citations": [], "footnotes": null, "date": "September 5, 2001-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "William Sommer completed this unusually sensitive portrait drawing during his year of formal art training in 1890 at the Kunstakademie in Munich, Germany. Sommer's use of delicate gradations of charcoal to convey volume and shading are characteristic of the Munich school. Unlike many American artists, Sommer studied drawing rather than painting while in Munich---no doubt because his objective was to become a skilled commercial lithographer. Legend suggests that Sommer hoped to marry the woman he depicted in this drawing but was unable to because of his poverty. In 1907 Sommer moved to Cleveland to work for the Otis Lithograph Company. Soon after his arrival he became an enthusiastic advocate of modern art, as well as the founder of the Kokoon Klub, where Cleveland artists could draw from the model and exchange new ideas. The Cleveland Museum of Art owns many of Sommer's modernist works, but this is the first drawing in the collection to represent his earlier, academic style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984948"], "internet_archive": ["https://archive.org/details/clevelandart-2001.110-portrait-of-a-woman"]}, "citations": [{"citation": "Adams, Henry, and Lawrence Waldman. <em>Painting in Pure Color: Modern Art in Cleveland Before the Armory Show (1908-1913)</em>. Cleveland: Cleveland Artists Foundation, 2013.", "page_number": "Reproduced: p. 20", "url": null}], "url": "https://clevelandart.org/art/2001.110", "images": {}, "alternate_images": [], "creditline": "Gift of Joseph Erdelac in memory of Ed Henning", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161770, "creators": [{"id": 9405, "description": "William Sommer (American, 1867\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Detroit to a family of German immigrants, Sommer first studied drawing at the age of 11 with Julius Gari Melchers. Pursuing a career in commercial lithography, Sommer apprenticed at Calvert Lithography in Detroit, 1881\u201388, and subsequently worked at various lithography shops in Boston, New York, and England. In 1890 he went abroad for a year of study at the Kunstakademie in Munich. In 1891 he returned to New York and spent the next 16 years working as a commercial lithographer. In 1907 he moved to Cleveland to work for the Otis Lithograph Company, where he became friendly with William Zorach. Around 1910, and under the influence of Abel Warshawsky, Sommer began to experiment with impressionist colors; subsequently he experimented with a fauvist palette. He exhibited with the Cleveland \u201csecessionists\u201d at the Rorimer-Brooks Studios in early 1911 and cofounded the Kokoon Klub that summer. Around 1914 he moved to Brandywine, a rural valley about 20 miles south of Cleveland, where he converted an abandoned schoolhouse into a studio that became an important meeting place for modern artists, poets, and musicians. In May 1918 Sommer designed stage sets and programs for a production of <em>Everyman</em> by the Cleveland Play House. He exhibited in the annual May Shows at the Cleveland Museum of Art (1922\u201350). In the 1930s and 1940s he exhibited on a regular basis in Cleveland, Chicago, and New York. During the Depression he was employed by various New Deal art programs to paint murals for Cleveland Public Hall (1933), Cleveland Public Library (1934), the post office in Geneva, Ohio (1938), and the Akron Board of Education (1941). After the death of his wife in 1945, he was struck by chronic bouts of depression and alcoholism. Sommer died in Brandywine. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 238", "name_in_original_language": null, "birth_year": "1867", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-09-05T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "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": "2026-05-01 06:52:20.415000"}, {"id": 162169, "accession_number": "2001.91", "share_license_status": "Copyrighted", "tombstone": "Dust Storm, Cimarron County, 1936. Arthur Rothstein (American, 1915\u20131985). Gelatin silver print, printed c. 1936-1939; image: 19.7 x 19.1 cm (7 3/4 x 7 1/2 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2001.91. \u00a9 Arthur Rothstein, Library of Congress", "current_location": null, "title": "Dust Storm, Cimarron County", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print, printed c. 1936-1939", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 19.7 x 19.1 cm (7 3/4 x 7 1/2 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.197, "height_inch": 7, "height_inch_fraction": 0.75, "width": 0.191, "width_inch": 7, "width_inch_fraction": 0.5}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Arthur Rothstein, Library of Congress", "inscriptions": [{"inscription": "Written in black ink on verso: \"Arthur Rothstein [traced or copied?]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007); Frick Art and Historical Center, Pittsburgh, PA (October 3, 2009-January 3, 2010).", "opening_date": "2007-06-24T00:00:00"}, {"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 13-December 31, 2017).", "opening_date": "2017-08-13T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A severe drought in the High Plains during the mid-1930s led to catastrophic erosion of the soil and dust storms. Rothstein took this iconic image while photographing for the Farm Security Administration in the Oklahoma panhandle. \u201cWhile making my pictures,\u201d he recalled, \u201cI could hardly breathe because the dust was everywhere. It was so heavy in the air that the land and sky seemed to merge until there was no horizon. . . . Just as I was about to finish shooting I saw a farmer and his two sons walk across the fields. As they pressed into the wind, the smallest child walked a few steps behind, his hands covering his eyes to protect them from the dust.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79985923"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cAccession List,\u201d December 26, 2001, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4424"}], "url": "https://clevelandart.org/art/2001.91", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162169, "creators": [{"id": 6592, "description": "Arthur Rothstein (American, 1915\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-09-05T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "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": "2026-05-01 06:52:22.976000"}, {"id": 159336, "accession_number": "1996.175", "share_license_status": "Copyrighted", "tombstone": "Box, 1979. Ann Hamilton (American, b. 1956). Weaving and wrapping: wool, cotton, linen, pine needles and sticks; overall: 27 x 18.2 x 14 cm (10 5/8 x 7 3/16 x 5 1/2 in.). 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This scene shows how, imprisoned in Egypt, two fellow prisoners ask Joseph to interpret their dreams. On the right, we see the cupbearer\u2019s dream, in which he squeezes grapes into the pharaoh\u2019s cup to offer wine. Joseph interprets this to mean that the man will be released and restored to his former life. The baker\u2019s dream, on the left, unfortunately has the opposite interpretation, leading to the man\u2019s execution. According to Christian people, the wine and bread references also foretell Christ\u2019s death and resurrection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80055658"], "internet_archive": ["https://archive.org/details/clevelandart-1925.30-the-story-of-joseph"]}, "citations": [], "catalogue_raisonne": "Hollstein 22 ; Bartsch VII.349.22; New Hollstein 22 (copy; undescribed)", "url": "https://clevelandart.org/art/1925.30", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.30/1925.30_web.jpg", "width": "1144", "height": "893", "filesize": "879490", "filename": "1925.30_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.30/1925.30_print.jpg", "width": "3400", "height": "2655", "filesize": "7508091", "filename": "1925.30_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.30/1925.30_full.tif", "width": "4676", "height": "3652", "filesize": "51263452", "filename": "1925.30_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107650, "creators": [{"id": 22613, "description": "Lucas van Leyden (Netherlandish, 1494\u2013about 1533)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1494", "death_year": "1533", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-01-15T00:00:00", "sortable_date": 1512, "date_added_to_oa": null, "date_text": "1512", "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": "2026-05-04 22:23:25.853000"}, {"id": 120012, "accession_number": "1940.795.6", "share_license_status": "CC0", "tombstone": "Twelve Etchings from Nature:  En Plein Soleil, 1858. James McNeill Whistler (American, 1834\u20131903). Etching on chine coll\u00e9. The Cleveland Museum of Art, Bequest of James Parmelee, 1940.795.6", "current_location": null, "title": "Twelve Etchings from Nature:  En Plein Soleil", "creation_date": "1858", "creation_date_earliest": 1858, "creation_date_latest": 1858, "artists_tags": ["male"], "culture": ["America"], "technique": "etching on chine coll\u00e9", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. 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Lievin Cruyl (Flemish, c. 1640-c. 1720). Pen and brown ink and brush and gray and blue wash over graphite; squared in graphite (two figures in the foreground); framing lines in brown ink; sheet: 38.7 x 49 cm (15 1/4 x 19 5/16 in.). The Cleveland Museum of Art, Dudley P. 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Palatium Farnesiorum. B. Duo Fontes aream anteriorem mundantes. / C. Oratorium S. Brigitte Nationis Sweci\u00e6 / D. Palatium Em: Cardinalis Antonij Barberini.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 515987, "title": "Queen Christina of Sweden", "description": "<i>Queen Christina of Sweden</i>. Nationalmuseum, Stockholm, Sweden (organizer) (June 29-October 16, 1966).", "opening_date": "1966-06-29T04:00:00"}, {"id": 441437, "title": "Views of Rome", "description": "<i>Views of Rome</i>. 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Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122991, "creators": [{"id": 12435, "description": "Lievin Cruyl (Flemish, c. 1640-c. 1720)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1640", "death_year": "1720", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-06-02T00:00:00", "sortable_date": 1664, "date_added_to_oa": null, "date_text": "1664", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1943.257", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Piazza Farnese"], "is_highlight": false, "updated_at": "2026-05-01 06:48:28.551000"}, {"id": 122992, "accession_number": "1943.257.b", "share_license_status": "CC0", "tombstone": "Cartouche (verso), 1664. Lievin Cruyl (Flemish, c. 1640-c. 1720). Graphite; sheet: 38.7 x 49 cm (15 1/4 x 19 5/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1943.257.b", "current_location": null, "title": "Cartouche (verso)", "creation_date": "1664", "creation_date_earliest": 1664, "creation_date_latest": 1664, "artists_tags": ["male"], "culture": ["Flanders"], "technique": "graphite", "support_materials": [{"description": "cream(3) laid paper; paper strips mounted to the perimeter", "watermarks": []}], "department": "Drawings", "collection": "DR - Flemish", "type": "Drawing", "measurements": "Sheet: 38.7 x 49 cm (15 1/4 x 19 5/16 in.)", "dimensions": {"sheet": {"height": 0.387, "height_inch": 15, "height_inch_fraction": 0.25, "width": 0.49, "width_inch": 19, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "ON STRIPS OF PAPER MOUNTED TO PERIMETER, lower center, in graphite: A20971 ; lower right, in graphite: E. 1", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 515987, "title": "Queen Christina of Sweden", "description": "<i>Queen Christina of Sweden</i>. 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Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122992, "creators": [{"id": 12435, "description": "Lievin Cruyl (Flemish, c. 1640-c. 1720)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1640", "death_year": "1720", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-06-02T00:00:00", "sortable_date": 1664, "date_added_to_oa": null, "date_text": "1664", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1943.257", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:48:28.558000"}, {"id": 146318, "accession_number": "1972.1087", "share_license_status": "Copyrighted", "tombstone": "Terminal Tower, Ohio, 1928. Margaret Bourke-White (American, 1904\u20131971). Vintage gelatin silver print; image: 17.8 x 7.3 cm (7 x 2 7/8 in.); mounted: 25.2 x 19.4 cm (9 15/16 x 7 5/8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, Gift of Mrs. Edd A. Ruggles, 1972.1087. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Terminal Tower, Ohio", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "Vintage gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 17.8 x 7.3 cm (7 x 2 7/8 in.); Mounted: 25.2 x 19.4 cm (9 15/16 x 7 5/8 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)", "dimensions": {"image": {"height": 0.178, "height_inch": 7, "height_inch_fraction": 0.0, "width": 0.073, "width_inch": 2, "width_inch_fraction": 0.875}, "mounted": {"height": 0.252, "height_inch": 9, "height_inch_fraction": 0.9375, "width": 0.194, "width_inch": 7, "width_inch_fraction": 0.625}, "matted": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "lower right in pencil: Bourke-White\r\nInside (Christmas Card): Margaret Bourke-White sends Christmas Greetings to Mr. Ruggles Terminal Tower 1928", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}, {"id": 521173, "title": "Egyptomania: Fashion\u2019s Conflicted Obsession", "description": "<i>Egyptomania: Fashion\u2019s Conflicted Obsession</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 1, 2023-January 28, 2024).", "opening_date": "2023-04-01T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Reminiscent of the ancient Lighthouse of Alexandria, Terminal Tower is an example of how Egyptomania impacted architecture in Cleveland, Ohio. Like the ancient lighthouse, Terminal Tower is a symbolic and functional building, dedicated to trade and commerce. Inspired by Roman mausoleums, the Van Sweringen brothers designed Terminal Tower in the Beaux-Art style, balancing Classical sculpture and architectural elements with modern materials. After assuming power over Egypt, the Greek general Ptolemy began constructing the Alexandrian lighthouse in 280 BCE. He used traditional Greek architectural techniques, which the Romans later borrowed, and which were subsequently interpreted by Beaux-Art architects in the 1800s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79924710"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1972.1087", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Edd A. Ruggles", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146318, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:50:40.335000"}, {"id": 157235, "accession_number": "1994.112", "share_license_status": "CC0", "tombstone": "Landscape with Castle and Shepherds, 1814. Achille Etna Michallon (French, 1796\u20131822). Brown ink and brown wash over graphite, heightened with white gouache ; sheet: 18.8 x 27 cm (7 3/8 x 10 5/8 in.). The Cleveland Museum of Art, Gift of Members of The Print Club of Cleveland in honor of the Club's seventy-fifth anniversary, 1994.112", "current_location": null, "title": "Landscape with Castle and Shepherds", "creation_date": "1814", "creation_date_earliest": 1814, "creation_date_latest": 1814, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "brown ink and brown wash over graphite, heightened with white gouache ", "support_materials": [{"description": "light brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 18.8 x 27 cm (7 3/8 x 10 5/8 in.)", "dimensions": {"sheet": {"height": 0.188, "height_inch": 7, "height_inch_fraction": 0.375, "width": 0.27, "width_inch": 10, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in brown wash: Michallon Rome / 181[9?]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}], "legacy": [{"description": "CMA, French Drawings from the Collection (Dec. 13, 1994-Mar. 12, 1995).", "opening_date": "1994-12-13T00:00:00"}]}, "provenance": [{"description": "[David and Constance Yates]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This landscape illustrates the sublime beauty of nature, a Romantic concept, but it also reflects \r\nthe importance of classical training in Rome. Throughout the 19th century, artists flocked to Italy to study classical ruins and themes, as well as landscapes. Here, the castle evokes Northern Italian fortresses, and in the tradition of other French artists traveling to Rome, Michallon imbued his rendering of the Alps with great emotion.\r\n", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79947735"], "internet_archive": ["https://archive.org/details/clevelandart-1994.112-landscape-with-castl"]}, "citations": [], "url": "https://clevelandart.org/art/1994.112", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1994.112/1994.112_web.jpg", "width": "1263", "height": "890", "filesize": "916458", "filename": "1994.112_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1994.112/1994.112_print.jpg", "width": "3400", "height": "2396", "filesize": "7351750", "filename": "1994.112_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1994.112/1994.112_full.tif", "width": "5842", "height": "4118", "filesize": "72201004", "filename": "1994.112_full.tif"}}, "alternate_images": [], "creditline": "Gift of Members of The Print Club of Cleveland in honor of the Club's seventy-fifth anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157235, "creators": [{"id": 13546, "description": "Achille Etna Michallon (French, 1796\u20131822)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1796", "death_year": "1822", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-09-07T00:00:00", "sortable_date": 1814, "date_added_to_oa": null, "date_text": "1814", "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": ["The Departing Shepherd"], "is_highlight": false, "updated_at": "2026-05-01 06:51:47.158000"}, {"id": 159707, "accession_number": "1996.412", "share_license_status": "Copyrighted", "tombstone": "Picasso, Cannes, 1956. Lucien Clergue (French, 1934-). Gelatin silver print; image: 30.9 x 24.9 cm (12 3/16 x 9 13/16 in.); paper: 39.2 x 29.6 cm (15 7/16 x 11 5/8 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Thomas A. Mann and Lucien Clergue, 1996.412. \u00a9 Lucien Clergue/SAIF, Paris/VAGA, New York", "current_location": null, "title": "Picasso, Cannes", "creation_date": "1956", "creation_date_earliest": 1956, "creation_date_latest": 1956, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 30.9 x 24.9 cm (12 3/16 x 9 13/16 in.); Paper: 39.2 x 29.6 cm (15 7/16 x 11 5/8 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.309, "height_inch": 12, "height_inch_fraction": 0.1875, "width": 0.249, "width_inch": 9, "width_inch_fraction": 0.8125}, "paper": {"height": 0.392, "height_inch": 15, "height_inch_fraction": 0.4375, "width": 0.296, "width_inch": 11, "width_inch_fraction": 0.625}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lucien Clergue/SAIF, Paris/VAGA, New York", "inscriptions": [{"inscription": "Written in black ink on recto: \"Lucien Clergue [signed]\"; on verso: \"\u00a9 1993 by L. Clergue--printed 1993 by Sayuri and L. Clergue--Picasso, Cannes 1956--ref 280/05 / ex 15/20 PF / Lucien Clergue [signed]\"; in pencil: \"P. 19\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 185439, "title": "Artists Photographing Artists", "description": "<i>Artists Photographing Artists</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 2001-February 27, 2002).", "opening_date": "2001-10-13T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art; 10/13/01-2/27/02.  \"Artists Photographing Artists,\" no catalogue.", "opening_date": "2001-10-13T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "An important chapter in Clergue's distinguished career was his photographs of Pablo Picasso (1881-1973). Clergue first approached Picasso in 1953 after a bullfight at the Roman arena in Arles, France. Picasso looked at the 19-year-old photographer's images and told him to return in one year. But three years passed before Clergue felt that his work was worthy of another visit. Picasso's enthusiasm and generosity sparked a warm and lasting friendship that continued until the older artist's death and resulted in numerous photographic portraits. In this example, the dark background causes the viewer to focus solely on the subject, whose eyes stare directly at the lens. The dramatic highlights accentuate the sitter's intense face and expressive hands (the right holds a cigarette much like a paintbrush). Picasso's hand and arm also create a shadow resembling a dove, a symbol of peace that he frequently used in his paintings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979750"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1996.412", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Thomas A. Mann and Lucien Clergue", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159707, "creators": [{"id": 6484, "description": "Lucien Clergue (French, 1934-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1956, "date_added_to_oa": null, "date_text": "1956", "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": "15", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:05.284000"}, {"id": 159869, "accession_number": "1997.172", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1928. David Smith (American, 1906\u20131965). Linoleum cut; sheet: 24 x 30.7 cm (9 7/16 x 12 1/16 in.); platemark: 16.8 x 22.4 cm (6 5/8 x 8 13/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1997.172. \u00a9  The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Untitled", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["America"], "technique": "linoleum cut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Sheet: 24 x 30.7 cm (9 7/16 x 12 1/16 in.); Platemark: 16.8 x 22.4 cm (6 5/8 x 8 13/16 in.)", "dimensions": {"sheet": {"height": 0.24, "height_inch": 9, "height_inch_fraction": 0.4375, "width": 0.307, "width_inch": 12, "width_inch_fraction": 0.0625}, "platemark": {"height": 0.168, "height_inch": 6, "height_inch_fraction": 0.625, "width": 0.224, "width_inch": 8, "width_inch_fraction": 0.8125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "in graphite on verso: \"This linoleum cut was made by David Smith. It depicts part of the Brooklyn waterfront in Brooklyn Heights. [Signed] Dorothy Dehner\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 188479, "title": "From Rembrandt to Rauschenberg:  Recently Acquired Prints", "description": "<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 26, 2000).", "opening_date": "2000-09-17T00:00:00"}, {"id": 184690, "title": "Against the Grain: Woodcuts from the Collection", "description": "<i>Against the Grain: Woodcuts from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 17-November 9, 2003).", "opening_date": "2003-08-17T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Famous as a sculptor, Smith also made three small groups of prints: linoleum cuts in the late 1920s, etchings in the 1930s and 1940s, and lithographs in the 1950s. Both <em>Untitled</em> and <em>Ballet </em>are rare. These impressions were owned by Smith's first wife, Dorothy Dehner, and were unknown until they were discovered after her death.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980181"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Schwartz 6", "url": "https://clevelandart.org/art/1997.172", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159869, "creators": [{"id": 3959, "description": "David Smith (American, 1906\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:52:06.579000"}, {"id": 159874, "accession_number": "1997.177", "share_license_status": "CC0", "tombstone": "The Body of Christ in the Sepulchre, 1654. Nicolas de Platte-Montagne (French, 1631\u20131706), after Philippe de Champaigne (French, 1602\u20131674). Etching and engraving; sheet: 34.1 x 58.9 cm (13 7/16 x 23 3/16 in.); platemark: 33.5 x 58.6 cm (13 3/16 x 23 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1997.177", "current_location": null, "title": "The Body of Christ in the Sepulchre", "creation_date": "1654", "creation_date_earliest": 1654, "creation_date_latest": 1654, "artists_tags": ["male"], "culture": ["France, 17th century"], "technique": "etching and engraving", "support_materials": [{"description": "medium weight antique paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 34.1 x 58.9 cm (13 7/16 x 23 3/16 in.); Platemark: 33.5 x 58.6 cm (13 3/16 x 23 1/16 in.)", "dimensions": {"sheet": {"height": 0.341, "height_inch": 13, "height_inch_fraction": 0.4375, "width": 0.589, "width_inch": 23, "width_inch_fraction": 0.1875}, "platemark": {"height": 0.335, "height_inch": 13, "height_inch_fraction": 0.1875, "width": 0.586, "width_inch": 23, "width_inch_fraction": 0.0625}}, "state_of_the_work": "I/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Notations by Prosper de Baudicour written in graphite on verso: \"Pi\u00e8ce ex\u00e9cut\u00e9e 'dans le pur go\u00fbt de Morin' et 'de toute beaut\u00e9' selon Robert-Dumesnil\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 188479, "title": "From Rembrandt to Rauschenberg:  Recently Acquired Prints", "description": "<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 26, 2000).", "opening_date": "2000-09-17T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; September 17 - November 26, 2000.  \"From Rembrandt to Rauschenberg:  Recently Acquired Prints.\"", "opening_date": "2000-09-17T00:00:00"}]}, "provenance": [{"description": "Prosper de Baudicour", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Prosper de Baudicour", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In addition to his activities as a portrait and history painter, Plattemontagne was one of the greatest printmakers in France during the 17th century. The Body of Christ in the Sepulchre is one of the artist's masterpieces. Here the combination of etching and engraving is particularly effective in creating dramatic effects of light, shade, and texture.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980192"], "internet_archive": ["https://archive.org/details/clevelandart-1997.177-the-body-of-christ-i"]}, "citations": [], "catalogue_raisonne": "Robert-Dumesnil 9, Le Blanc 4", "url": "https://clevelandart.org/art/1997.177", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.177/1997.177_web.jpg", "width": "900", "height": "531", "filesize": "216389", "filename": "1997.177_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.177/1997.177_print.jpg", "width": "3400", "height": "2006", "filesize": "3317347", "filename": "1997.177_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.177/1997.177_full.tif", "width": "7588", "height": "4476", "filesize": "101922696", "filename": "1997.177_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159874, "creators": [{"id": 7948, "description": "Nicolas de Platte-Montagne (French, 1631\u20131706)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1631", "death_year": "1706", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 1891, "description": "Philippe de Champaigne (French, 1602\u20131674)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1602", "death_year": "1674", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "sortable_date": 1654, "date_added_to_oa": null, "date_text": "1654", "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": "2026-05-01 06:52:06.617000"}, {"id": 160666, "accession_number": "1998.42.1", "share_license_status": "CC0", "tombstone": "Sagot's Gallery, 1898. Georges Alfred Bottini (French, 1874\u20131907). Color separation proof in yellow; sheet: 37.7 x 28.1 cm (14 13/16 x 11 1/16 in.); image: 28.8 x 18.6 cm (11 5/16 x 7 5/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1998.42.1", "current_location": null, "title": "Sagot's Gallery", "creation_date": "1898", "creation_date_earliest": 1898, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color separation proof in yellow", "support_materials": [{"description": "cream (3) wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Apparatus", "type": "Print", "measurements": "Sheet: 37.7 x 28.1 cm (14 13/16 x 11 1/16 in.); Image: 28.8 x 18.6 cm (11 5/16 x 7 5/16 in.)", "dimensions": {"sheet": {"height": 0.377, "height_inch": 14, "height_inch_fraction": 0.8125, "width": 0.281, "width_inch": 11, "width_inch_fraction": 0.0625}, "image": {"height": 0.288, "height_inch": 11, "height_inch_fraction": 0.3125, "width": 0.186, "width_inch": 7, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower right, in graphite: 2", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 188479, "title": "From Rembrandt to Rauschenberg:  Recently Acquired Prints", "description": "<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 26, 2000).", "opening_date": "2000-09-17T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; September 17 - November 26, 2000.  \"From Rembrandt to Rauschenberg:  Recently Acquired Prints.\"", "opening_date": "2000-09-17T00:00:00"}]}, "provenance": [{"description": "Edmond D. Sagot's great grandson", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "During the 1890s, there was a revived interest in color lithography in Paris. Originally considered a commercial art form, the medium was taken up by a growing number of printmakers as a means of formal experimentation. This print by Georges Bottini shows the shop of Edmond Sagot, a leading dealer of color lithographs during the late 19th and early 20th century. A crowd of fashionably dressed young women gather before the windows of Sagot's shop, suggesting the growing status of color lithography at this time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982250"], "internet_archive": ["https://archive.org/details/clevelandart-1998.42.1-sagot-s-gallery"]}, "citations": [], "catalogue_raisonne": "Southard 27", "url": "https://clevelandart.org/art/1998.42.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.42.1/1998.42.1_web.jpg", "width": "681", "height": "900", "filesize": "215869", "filename": "1998.42.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.42.1/1998.42.1_print.jpg", "width": "2574", "height": "3400", "filesize": "2830773", "filename": "1998.42.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.42.1/1998.42.1_full.tif", "width": "8041", "height": "10623", "filesize": "256283700", "filename": "1998.42.1_full.tif"}}, "alternate_images": [{"date_created": "2005-12-01T19:08:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.42.1/1998.42.1_alt0_web.jpg", "width": "587", "height": "893", "filesize": "301605"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.42.1/1998.42.1_alt0_print.jpg", "width": "2234", "height": "3400", "filesize": "4145351"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.42.1/1998.42.1_alt0_full.tif", "width": "3524", "height": "5364", "filesize": "56735756"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160666, "creators": [{"id": 11544, "description": "Georges Alfred Bottini (French, 1874\u20131907)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1874", "death_year": "1907", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1898, "date_added_to_oa": null, "date_text": "1898", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1998.42", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:12.954000"}, {"id": 164326, "accession_number": "2005.41", "share_license_status": "Copyrighted", "tombstone": "My Mother, Pennsville, OH, 1970. Nancy Rexroth (American, 1946-). Gelatin silver print; image: 10.3 x 10.5 cm (4 1/16 x 4 1/8 in.); paper: 20 x 25.1 cm (7 7/8 x 9 7/8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, Gift of Friends of Photography, 2005.41", "current_location": null, "title": "My Mother, Pennsville, OH", "creation_date": "1970", "creation_date_earliest": 1970, "creation_date_latest": 1970, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 10.3 x 10.5 cm (4 1/16 x 4 1/8 in.); Paper: 20 x 25.1 cm (7 7/8 x 9 7/8 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)", "dimensions": {"image": {"height": 0.103, "height_inch": 4, "height_inch_fraction": 0.0625, "width": 0.105, "width_inch": 4, "width_inch_fraction": 0.125}, "paper": {"height": 0.2, "height_inch": 7, "height_inch_fraction": 0.875, "width": 0.251, "width_inch": 9, "width_inch_fraction": 0.875}, "matted": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "written in pencil on verso: \"#342/My Mother/Pennsville, Ohio/1970/Nancy Rexroth (signed)/RMG16742 #342/cut\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 197898, "title": "Portraiture: American Photography 1960 to the Present", "description": "<i>Portraiture: American Photography 1960 to the Present</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 1-September 13, 2009).", "opening_date": "2009-06-01T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (06/01/2009 - 09/13/2009); \"Portraiture: American Photography 1960 to the Present\"", "opening_date": "2009-06-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "From 1970 to 1976, Rexroth worked on a melancholy and atmospheric group of images that evoke her memories and dreams of childhood and growing up in rural, southern Ohio. One of the first to successfully use the low-quality, plastic-bodied Diana camera, she artistically took advantage of its defects\u2014irregular exposure, bent perspective, and blurred focus. All of these attributes, in this engrossing portrait of her mother, contribute to Rexroth\u2019s recollection of a bygone time in her life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79991758"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2005.41", "images": {}, "alternate_images": [], "creditline": "Gift of Friends of Photography", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 164326, "creators": [{"id": 51196, "description": "Nancy Rexroth (American, 1946-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-02-28T00:00:00", "sortable_date": 1970, "date_added_to_oa": null, "date_text": "1970", "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": "2026-05-01 06:52:38.309000"}, {"id": 303719, "accession_number": "2017.106", "share_license_status": "Copyrighted", "tombstone": "Congressional Gathering, 1959. Louis H. Draper (American, 1935\u20132002). Gelatin silver print; image: 31.1 x 20.7 cm (12 1/4 x 8 1/8 in.); paper: 35.4 x 27.6 cm (13 15/16 x 10 7/8 in.). The Cleveland Museum of Art, Alma Kroeger Fund, 2017.106. \u00a9 Louis H. Draper", "current_location": null, "title": "Congressional Gathering", "creation_date": "1959", "creation_date_earliest": 1959, "creation_date_latest": 1959, "artists_tags": ["male", "Black American Artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 31.1 x 20.7 cm (12 1/4 x 8 1/8 in.); Paper: 35.4 x 27.6 cm (13 15/16 x 10 7/8 in.)", "dimensions": {"image": {"height": 0.311, "height_inch": 12, "height_inch_fraction": 0.25, "width": 0.207, "width_inch": 8, "width_inch_fraction": 0.125}, "paper": {"height": 0.354, "height_inch": 13, "height_inch_fraction": 0.9375, "width": 0.276, "width_inch": 10, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Louis H. Draper", "inscriptions": [{"inscription": "Stamped in black ink on verso: \u201cWARNING: FROM THE ESTATE OF/LOUIS DRAPER/EXECUTOR/NELL DRAPER WINSTON/\u00a9 COPYRIGHT 2002/107 LIBERTY AVENUE/RICHMOND, VA 23223\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \u201cLD124\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 306886, "title": "Recent Acquisitions", "description": "<i>Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-June 7, 2018).", "opening_date": "2018-03-17T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (03/17/2018-06/06/2018): \"Recent Acquisitions 2014-2017\"", "opening_date": "2018-03-17T00:00:00"}]}, "provenance": [{"description": "Louis Draper (the artist)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "estate of Louis Draper", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Steven Kasher Gallery, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 11, 2017", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This metaphorical image, made early in Draper\u2019s career, was taken two years after he moved from segregated Richmond, Virginia, to New York to study photography. He shows us one thing\u2014bedsheets hanging on a clothesline, seemingly seen at night\u2014while alluding to another, hoods at a Ku Klux Klan gathering.<br><br><br><br>:{\u07c3\u07ef", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79868761"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2017.106", "images": {}, "alternate_images": [], "creditline": "Alma Kroeger Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 303719, "creators": [{"id": 291892, "description": "Louis H. Draper (American, 1935\u20132002)", "extent": null, "qualifier": null, "role": "artist", "biography": "American photographer, 1935-2002<br>Raised in segregated Richmond, Virginia, Louis Draper (1935\u20132002) moved to New York City to study photography in 1957. He supported himself through commercial photography, film production, and teaching so he could produce his personal work. Shooting mostly in Harlem and around New York, Draper created reflective and penetrating portraits, compelling street photography, and, later in life, abstractions. Although Draper rarely commented on individual photographs, he wrote and spoke about the impact he felt he could make through photography. The profession caused him to \u201crealize that what I felt had worth; that I could make strong statements about the world in visual terms and that often these images did in fact move people emotionally. I had power . . . [that] was given to me for the purpose of sharing.\u201d Seeking an ongoing forum for dialogue with other photographers, in 1963 Draper co-founded Kamoinge, an important collective of African American photographers that continues to this day in Harlem. Among the group\u2019s concerns was to try to define a black aesthetic in photography. Draper proposed in 1972 that it would require \u201can investigation into the nature of what it means to be black, and a translation of that into optical terms.\u201d", "name_in_original_language": null, "birth_year": "1935", "death_year": "2002", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959", "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": "2026-05-01 06:53:49.227000"}, {"id": 159480, "accession_number": "1996.254", "share_license_status": "CC0", "tombstone": "Voyage en Orient, vol 2, \"Chateau du temps des Croisades en Syrie\": Kaalat el Athlit, Syria, View from the Seaside, 1859. Louis de Clercq (French, 1836\u20131901). Albumen print from calotype negatives; image: 20.7 x 15.2 cm (8 1/8 x 6 in.); matted: 55.9 x 71.1 cm (22 x 28 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1996.254", "current_location": null, "title": "Kaalat el Athlit, Syria, View from the Seaside", "series": "Voyage en Orient, vol 2, \"Chateau du temps des Croisades en Syrie\"", "creation_date": "1859", "creation_date_earliest": 1859, "creation_date_latest": 1859, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "albumen print from calotype negatives", "support_materials": [], "department": "Photography", "collection": "Photography", "type": "Photograph", "measurements": "Image: 20.7 x 15.2 cm (8 1/8 x 6 in.); Matted: 55.9 x 71.1 cm (22 x 28 in.)", "dimensions": {"image": {"height": 0.207, "height_inch": 8, "height_inch_fraction": 0.125, "width": 0.152, "width_inch": 6, "width_inch_fraction": 0.0}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.711, "width_inch": 28, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in negative: \"3\"; printed in black ink on mount: \"KALAAT EL ATHLIT / C\u00d4T\u00c9 DE LA MER/[artist's seal]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 179137, "title": "Signs of Life:  Recent Photography Acquisitions", "description": "<i>Signs of Life:  Recent Photography Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 2003-April 7, 2004).", "opening_date": "2003-11-22T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Weston Gallery, Carmel, CA)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "September 16, 1996", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "After fulfilling his obligation to a government-sponsored expedition to the crusader castles of Syria and Asia Minor, Louis de Clercq continued his photographic exploration of the Holy Land, moved on to Egypt, and returned to France through Spain. From the probably several hundred paper negatives he took during his extensive travels, de Clercq published a selection of 222 albumen prints, divided into 6 volumes, which were frequently bound as 5 albums, titled <em>Voyage in Orient </em>(1859\u201360). This carefully posed panorama of the Syrian coastline at Kaalat el Athlit, bathed in warm light and luminous shadows, records the sweep of space and rugged beauty of the site, emphasizing its geographical and topographical features. Interestingly, de Clercq\u2019s use of the panoramas represents an impressive technical achievement, since the difficulties in mid-19th-century photography only increased when the negatives had to form a continuous image. His panoramas also reveal the period\u2019s zeal to convey as much information as possible about the experience of a place.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979112"], "internet_archive": ["https://archive.org/details/clevelandart-1996.254-kaalat-el-athlit-syr"]}, "citations": [{"citation": "Clercq, and Rolf Mayer. Louis De Clercq: Voyage En Orient. Stuttgart-Bad Cannstatt: Edition Cantz, 1989.", "page_number": "pl. 3", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRare Korean Screen Painting, Important Baroque Drawing, Sheeler Drawing Join the Museum Collection,\u201d October 10, 1996, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4074"}], "url": "https://clevelandart.org/art/1996.254", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1996.254/1996.254_web.jpg", "width": "1263", "height": "487", "filesize": "414126", "filename": "1996.254_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1996.254/1996.254_print.jpg", "width": "3400", "height": "1311", "filesize": "2538223", "filename": "1996.254_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1996.254/1996.254_full.tif", "width": "4428", "height": "1707", "filesize": "22705076", "filename": "1996.254_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159480, "creators": [{"id": 1724, "description": "Louis de Clercq (French, 1836\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": "His albums Voyages en Orient was self-published in Paris in 1860.", "name_in_original_language": null, "birth_year": "1836", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-09-16T00:00:00", "sortable_date": 1859, "date_added_to_oa": null, "date_text": "1859", "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": "2026-05-01 06:52:03.593000"}, {"id": 165151, "accession_number": "2007.152", "share_license_status": "Copyrighted", "tombstone": "The Questioner , 1930. Anton Stankowski (German, 1906\u20131998). Gelatin silver print; image: 16.9 x 11.9 cm (6 5/8 x 4 11/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.152. \u00a9 Stankowski-Stiftung", "current_location": null, "title": "The Questioner ", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - German 20th Century", "type": "Photograph", "measurements": "Image: 16.9 x 11.9 cm (6 5/8 x 4 11/16 in.)", "dimensions": {"image": {"height": 0.169, "height_inch": 6, "height_inch_fraction": 0.625, "width": 0.119, "width_inch": 4, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Stankowski-Stiftung", "inscriptions": [{"inscription": "Written in pencil on verso: \"18 x 24/Der Trager\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Edwynn Houk Gallery, New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "David Raymond [b.1979], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In what is almost undoubtedly a self-portrait, the artist turns his head to look into the camera, and thus at the viewer. Despite eye contact, the extremes of deep shadow and bright light obscure his face, adding to the sense of intrigue. 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Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165151, "creators": [{"id": 55041, "description": "Anton Stankowski (German, 1906\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "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": "2026-05-01 06:52:44.042000"}, {"id": 165553, "accession_number": "2007.29", "share_license_status": "Copyrighted", "tombstone": "The Film, 1930. Herman Bekman (German, b. 1906). Gelatin silver print; image: 29.8 x 23.9 cm (11 3/4 x 9 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.29", "current_location": null, "title": "The Film", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["Netherlands or Germany, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - German 20th Century", "type": "Photograph", "measurements": "Image: 29.8 x 23.9 cm (11 3/4 x 9 7/16 in.)", "dimensions": {"image": {"height": 0.298, "height_inch": 11, "height_inch_fraction": 0.75, "width": 0.239, "width_inch": 9, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso: \"8 stuk\" and \"BOVEA\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Black stamp on verso of print: \"ATELIER BEKMANI Fotografie-Fotohandel/Heutszingel 19/Coevorden\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. 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References to the nature or practice of photography are a common motif in work of this era.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79994717"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "cat. no. 93, p. 140.", "url": null}], "url": "https://clevelandart.org/art/2007.29", "images": {}, "alternate_images": [], "creditline": "John L. 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Robert Capa (Hungarian, 1913\u20131954). Gelatin silver print; image: 24 x 17.2 cm (9 7/16 x 6 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.43. \u00a9 International Center for Photography", "current_location": null, "title": "Race Course, Paris", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["Jewish artists", "male"], "culture": ["Hungary"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 24 x 17.2 cm (9 7/16 x 6 3/4 in.)", "dimensions": {"image": {"height": 0.24, "height_inch": 9, "height_inch_fraction": 0.4375, "width": 0.172, "width_inch": 6, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 International Center for Photography", "inscriptions": [{"inscription": "Signed on verso\r\nWritten on verso: \"Freud (??) 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Joseph Kosuth (American, 1945-). Vintage photograph, photograph of a photograph, photographic enlargement of dictionary definition of \u2018photograph,\u2019 original photo-certificate with original cut-out definition; overall: 40.2 x 52 cm (15 13/16 x 20 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. 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Joseph Kosuth (American, 1945-). Vintage photograph, photograph of a photograph, photographic enlargement of dictionary definition of \u2018photograph,\u2019 original photo-certificate with original cut-out definition; image: 26.4 x 36 cm (10 3/8 x 14 3/16 in.); mounted: 40 x 52 cm (15 3/4 x 20 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2009.1.b. \u00a9 Joseph Kosuth / Artists Rights Society (ARS), New York", "current_location": null, "title": "One and Three Photographs [Ety.]", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["male"], "culture": ["America"], "technique": "vintage photograph, photograph of a photograph, photographic enlargement of dictionary definition of \u2018photograph,\u2019 original photo-certificate with original cut-out definition", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Installation Media", "type": "Photograph", "measurements": "Image: 26.4 x 36 cm (10 3/8 x 14 3/16 in.); Mounted: 40 x 52 cm (15 3/4 x 20 1/2 in.)", "dimensions": {"image": {"height": 0.264, "height_inch": 10, "height_inch_fraction": 0.375, "width": 0.36, "width_inch": 14, "width_inch_fraction": 0.1875}, "mounted": {"height": 0.4, "height_inch": 15, "height_inch_fraction": 0.75, "width": 0.52, "width_inch": 20, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Joseph Kosuth / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Main Gallery Rotation (gallery 229): May 20, 2009 - September 11, 2009.", "opening_date": "2009-05-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Kosuth is regarded as one of the most significant artists to champion conceptualism, which values the idea of an artwork over the physical object itself. 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Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166817, "creators": [{"id": 57669, "description": "Joseph Kosuth (American, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2009.1", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:55.696000"}, {"id": 166819, "accession_number": "2009.1.c", "share_license_status": "Copyrighted", "tombstone": "One and Three Photographs [Ety.], 1965. Joseph Kosuth (American, 1945-). Vintage photograph, photograph of a photograph, photographic enlargement of dictionary definition of \u2018photograph,\u2019 original photo-certificate with original cut-out definition; overall: 60.9 x 76.2 cm (24 x 30 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2009.1.c. \u00a9 Joseph Kosuth / Artists Rights Society (ARS), New York", "current_location": null, "title": "One and Three Photographs [Ety.]", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["male"], "culture": ["America"], "technique": "vintage photograph, photograph of a photograph, photographic enlargement of dictionary definition of \u2018photograph,\u2019 original photo-certificate with original cut-out definition", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Installation Media", "type": "Photograph", "measurements": "Overall: 60.9 x 76.2 cm (24 x 30 in.)", "dimensions": {"overall": {"height": 0.609, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.762, "width_inch": 30, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Joseph Kosuth / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Main Gallery Rotation (gallery 229): May 20, 2009 - September 11, 2009.", "opening_date": "2009-05-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Kosuth is regarded as one of the most significant artists to champion conceptualism, which values the idea of an artwork over the physical object itself. In this work, Kosuth compares three different ways to present information, represented by an etymological dictionary definition of <em>photograph</em>, a photograph by Linda Butler of the nearby Peter B. Lewis building designed by Frank Gehry, and a life-size photograph of Butler\u2019s photograph. Kosuth\u2019s groundbreaking work presciently questions what it means for any image to be an \u201coriginal\u201d and whether this distinction influences a picture\u2019s meaning.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997604"], "internet_archive": []}, "citations": [{"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. 117", "url": ""}], "url": "https://clevelandart.org/art/2009.1.c", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166819, "creators": [{"id": 57669, "description": "Joseph Kosuth (American, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2009.1", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:55.712000"}, {"id": 107661, "accession_number": "1925.31", "share_license_status": "CC0", "tombstone": "The Story of Joseph:  Joseph Interprets his Dream to Jacob, 1512. Copy after Lucas van Leyden (Netherlandish, 1494\u2013about 1533). Engraving; sheet: 13 x 16.9 cm (5 1/8 x 6 5/8 in.). The Cleveland Museum of Art, Gift of Ralph King, 1925.31", "current_location": null, "title": "The Story of Joseph:  Joseph Interprets his Dream to Jacob", "creation_date": "1512", "creation_date_earliest": 1512, "creation_date_latest": 1512, "artists_tags": ["male"], "culture": ["Netherlands, 16th century"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Sheet: 13 x 16.9 cm (5 1/8 x 6 5/8 in.)", "dimensions": {"sheet": {"height": 0.13, "height_inch": 5, "height_inch_fraction": 0.125, "width": 0.169, "width_inch": 6, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 345796, "title": "Prints by Lucas Van Leyden and His Contemporaries", "description": "<i>Prints by Lucas Van Leyden and His Contemporaries</i>. 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Copies of his most popular prints were sold for decades after his death.", "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80055660"], "internet_archive": ["https://archive.org/details/clevelandart-1925.31-the-story-of-joseph"]}, "citations": [], "catalogue_raisonne": "Hollstein X.71.19 ; Bartsch VII.348.19; New Hollstein 19 (copy; undescribed)", "url": "https://clevelandart.org/art/1925.31", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.31/1925.31_web.jpg", "width": "1145", "height": "893", "filesize": "874439", "filename": "1925.31_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.31/1925.31_print.jpg", "width": "3400", "height": "2652", "filesize": "7205543", "filename": "1925.31_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.31/1925.31_full.tif", "width": "4652", "height": "3628", "filesize": "50665296", "filename": "1925.31_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107661, "creators": [{"id": 22613, "description": "Lucas van Leyden (Netherlandish, 1494\u2013about 1533)", "extent": null, "qualifier": "copy after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1494", "death_year": "1533", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-01-15T00:00:00", "sortable_date": 1512, "date_added_to_oa": null, "date_text": "1512", "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": "2026-05-04 22:23:26.953000"}, {"id": 160561, "accession_number": "1998.34", "share_license_status": "CC0", "tombstone": "Au Luxembourg (At the Luxembourg Gardens), 1897. Jean-\u00c9mile Laboureur (French, 1877\u20131943). Woodcut; sheet: 29.9 x 22 cm (11 3/4 x 8 11/16 in.); image: 20.2 x 113.1 cm (7 15/16 x 44 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 1998.34", "current_location": null, "title": "Au Luxembourg (At the Luxembourg Gardens)", "creation_date": "1897", "creation_date_earliest": 1897, "creation_date_latest": 1897, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "woodcut", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Sheet: 29.9 x 22 cm (11 3/4 x 8 11/16 in.); Image: 20.2 x 113.1 cm (7 15/16 x 44 1/2 in.)", "dimensions": {"sheet": {"height": 0.299, "height_inch": 11, "height_inch_fraction": 0.75, "width": 0.22, "width_inch": 8, "width_inch_fraction": 0.6875}, "image": {"height": 0.202, "height_inch": 7, "height_inch_fraction": 0.9375, "width": 1.131, "width_inch": 44, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Verso in graphite: \"Au Luxembourg, 1898 J.L. 572\"; printed in margins, top: \"L'IMAGE/LABOUREUR\"; bottom, \"AU LUXEMBOURG/Bois original au canif.\" Monogram \"el\" signed in plate.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 184690, "title": "Against the Grain: Woodcuts from the Collection", "description": "<i>Against the Grain: Woodcuts from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 17-November 9, 2003).", "opening_date": "2003-08-17T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Threatened by the use of photomechanical methods to reproduce images in journals, printmakers formed various professional groups to demonstrate the artistic superiority of woodcut and wood engraving for the purpose of illustration. The Society of Wood Engravers (Soci\u00e9t\u00e9 Corporative des Graveurs sur Bois) published a monthly art and literary review called <em>L'Image</em> (1896-97), in which <em>Au Luxembourg</em> appeared.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79981965"], "internet_archive": ["https://archive.org/details/clevelandart-1998.34-au-luxembourg-at-the"]}, "citations": [], "catalogue_raisonne": "Laboureur Vol.I.572", "url": "https://clevelandart.org/art/1998.34", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.34/1998.34_web.jpg", "width": "663", "height": "893", "filesize": "455954", "filename": "1998.34_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.34/1998.34_print.jpg", "width": "2526", "height": "3400", "filesize": "5414846", "filename": "1998.34_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.34/1998.34_full.tif", "width": "3366", "height": "4530", "filesize": "45777156", "filename": "1998.34_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160561, "creators": [{"id": 22359, "description": "Jean-\u00c9mile Laboureur (French, 1877\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1877", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "1897", "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": "2026-05-01 06:52:12.269000"}, {"id": 161891, "accession_number": "2001.166.2", "share_license_status": "Copyrighted", "tombstone": "Girl at Gee's Bend, Alabama, 1937. Arthur Rothstein (American, 1915\u20131985). Gelatin silver print, printed 1981; image: 22.6 x 30.5 cm (8 7/8 x 12 in.); paper: 27.5 x 35.5 cm (10 13/16 x 14 in.). The Cleveland Museum of Art, Gift of Alan and Monah L. Gettner, 2001.166.2", "current_location": null, "title": "Girl at Gee's Bend, Alabama", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print, printed 1981", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Portfolio", "measurements": "Image: 22.6 x 30.5 cm (8 7/8 x 12 in.); Paper: 27.5 x 35.5 cm (10 13/16 x 14 in.)", "dimensions": {"image": {"height": 0.226, "height_inch": 8, "height_inch_fraction": 0.875, "width": 0.305, "width_inch": 12, "width_inch_fraction": 0.0}, "paper": {"height": 0.275, "height_inch": 10, "height_inch_fraction": 0.8125, "width": 0.355, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": "50 + II artist's proofs", "copyright": null, "inscriptions": [{"inscription": "written in pencil on recto: \"Arthur Rothstein\" [signed]\r\nwritten in pencil on verso: \"2\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 13-December 31, 2017).", "opening_date": "2017-08-13T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In February 1937 the Farm Security Administration assigned Rothstein to photograph Gee\u2019s Bend, a former plantation that had become an isolated African American sharecropping community. The people were described in a 1937 federal report as \u201cliving together in this tribal like settlement far away from civilization in their habits and manner of living.\u201d The agency\u2019s hope was that images of their extreme poverty could generate support for farm tenant legislation pending in Congress. Rothstein\u2019s images emphasize the difficult yet sometimes picturesque living conditions rather than any signs of progress. Here young Artelia Bendolph is seen in the window of a log cabin. The window is solid wood, not transparent glass, insulated with magazine pages. Gee\u2019s Bend later became world famous for the sophisticated artistry of its quilting tradition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79985245"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2001.166.2", "images": {}, "alternate_images": [], "creditline": "Gift of Alan and Monah L. Gettner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161891, "creators": [{"id": 6592, "description": "Arthur Rothstein (American, 1915\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-12-03T00:00:00", "sortable_date": 1937, "date_added_to_oa": null, "date_text": "1937", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2001.166", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:21.178000"}, {"id": 161892, "accession_number": "2001.166.3", "share_license_status": "Copyrighted", "tombstone": "Vernon Evans, Migrant to Oregon from South Dakota, 1936. Arthur Rothstein (American, 1915\u20131985). Gelatin silver print, printed 1981; image: 22.9 x 30.8 cm (9 x 12 1/8 in.); paper: 22.7 x 35.6 cm (8 15/16 x 14 in.). The Cleveland Museum of Art, Gift of Alan and Monah L. Gettner, 2001.166.3", "current_location": null, "title": "Vernon Evans, Migrant to Oregon from South Dakota", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print, printed 1981", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Portfolio", "measurements": "Image: 22.9 x 30.8 cm (9 x 12 1/8 in.); Paper: 22.7 x 35.6 cm (8 15/16 x 14 in.)", "dimensions": {"image": {"height": 0.229, "height_inch": 9, "height_inch_fraction": 0.0, "width": 0.308, "width_inch": 12, "width_inch_fraction": 0.125}, "paper": {"height": 0.227, "height_inch": 8, "height_inch_fraction": 0.9375, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": "50 + II artist's proofs", "copyright": null, "inscriptions": [{"inscription": "written in pencil on recto: \"Arthur Rothstein\" [signed]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. 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Gettner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161892, "creators": [{"id": 6592, "description": "Arthur Rothstein (American, 1915\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-12-03T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2001.166", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:21.185000"}, {"id": 162373, "accession_number": "2002.82.5", "share_license_status": "Copyrighted", "tombstone": "Arthur Rothstein portfolio: Shoeshine Man, New York City, 1937. Arthur Rothstein (American, 1915\u20131985). Gelatin silver print; image: 30.8 x 22.8 cm (12 1/8 x 9 in.); paper: 35.7 x 27.7 cm (14 1/16 x 10 7/8 in.). The Cleveland Museum of Art, Gift of Alan and Monah L. Gettner, 2002.82.5", "current_location": null, "title": "Shoeshine Man, New York City", "series": "Arthur Rothstein portfolio", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 30.8 x 22.8 cm (12 1/8 x 9 in.); Paper: 35.7 x 27.7 cm (14 1/16 x 10 7/8 in.)", "dimensions": {"image": {"height": 0.308, "height_inch": 12, "height_inch_fraction": 0.125, "width": 0.228, "width_inch": 9, "width_inch_fraction": 0.0}, "paper": {"height": 0.357, "height_inch": 14, "height_inch_fraction": 0.0625, "width": 0.277, "width_inch": 10, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": "50 + II artist's proofs", "copyright": null, "inscriptions": [{"inscription": "written in pencil on recto: \"Arthur Rothstein\" [signed]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. 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This worker sits, ready to seize the opportunity (as mentioned in the sign above him) to serve a customer.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986490"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2002.82.5", "images": {}, "alternate_images": [], "creditline": "Gift of Alan and Monah L. Gettner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162373, "creators": [{"id": 6592, "description": "Arthur Rothstein (American, 1915\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-09-03T00:00:00", "sortable_date": 1937, "date_added_to_oa": null, "date_text": "1937", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2002.82", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:24.394000"}, {"id": 163009, "accession_number": "2003.45", "share_license_status": "CC0", "tombstone": "Star of Kings,  A Night Piece, 1630. Jan van de Velde (Dutch, 1620\u20131662), after Pieter Molyn (Dutch, 1595\u20131661). Engraving; sheet: 20.8 x 16.4 cm (8 3/16 x 6 7/16 in.). 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The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 17, 2015).", "opening_date": "2015-01-25T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "<em>Star of Kings</em> depicts the holiday of Epiphany, or Twelfth Night, celebrated on January 6, and commemorates the journey of the three Maji to the Christ child, guided by the Star of Bethlehem. In 17th-century Netherlands, the event was recreated by townspeople who gathered at dusk and processed through the streets singing and carrying candles and torches, following one of the most prominent citizens who had the honor of holding the star.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79988373"], "internet_archive": ["https://archive.org/details/clevelandart-2003.45-star-of-kings-a-nigh"]}, "citations": [], "catalogue_raisonne": "Hollstein XXXIII.52.149", "url": "https://clevelandart.org/art/2003.45", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2003.45/2003.45_web.jpg", "width": "711", "height": "893", "filesize": "507928", "filename": "2003.45_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2003.45/2003.45_print.jpg", "width": "2706", "height": "3400", "filesize": "8079168", "filename": "2003.45_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2003.45/2003.45_full.tif", "width": "3919", "height": "4925", "filesize": "57934816", "filename": "2003.45_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.45/2003.45_alt0_web.jpg", "width": "711", "height": "893", "filesize": "497373"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.45/2003.45_alt0_print.jpg", "width": "2708", "height": "3400", "filesize": "7483596"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.45/2003.45_alt0_full.tif", "width": "3982", "height": "5000", "filesize": "59748804"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163009, "creators": [{"id": 21989, "description": "Jan van de Velde (Dutch, 1620\u20131662)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1620", "death_year": "1662", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 13047, "description": "Pieter Molyn (Dutch, 1595\u20131661)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1595", "death_year": "1661", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2003-06-02T00:00:00", "sortable_date": 1630, "date_added_to_oa": null, "date_text": "1630", "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": "2026-05-01 06:52:28.784000"}, {"id": 166816, "accession_number": "2009.1.aa", "share_license_status": "Copyrighted", "tombstone": "Photo chosen by Joseph Kosuth for inclusion of One and Three Photographs [Ety.] in the exhibition \"Joseph Kosuth, A Labyrinth Into Which I Can Venture (A Play of Works by Guests and Foreigners)\", Sean Kelly Gallery, New York, Sept. 19 - Oct. 28, 2006, 1965. Joseph Kosuth (American, 1945-). Vintage photograph, photograph of a photograph, photographic enlargement of dictionary definition of \u2018photograph,\u2019 original photo-certificate with original cut-out definition. The Cleveland Museum of Art, Purchase from the J. H. 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Joseph Kosuth (American, 1945-). Vintage photograph, photograph of a photograph, photographic enlargement of dictionary definition of \u2018photograph,\u2019 original photo-certificate with original cut-out definition. The Cleveland Museum of Art, Purchase from the J. H. 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Lievin Cruyl (Flemish, c. 1640-c. 1720). Pen and brown ink and brush and gray and blue wash over stylus and graphite; framing lines in brown ink; sheet: 39.3 x 50 cm (15 1/2 x 19 11/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1943.258", "current_location": null, "title": "Eighteen Views of Rome: The Piazza Colonna", "creation_date": "1664", "creation_date_earliest": 1664, "creation_date_latest": 1664, "artists_tags": ["male"], "culture": ["Flanders"], "technique": "pen and brown ink and brush and gray and blue wash over stylus and graphite; framing lines in brown ink", "support_materials": [{"description": "cream(3) laid paper; paper strips mounted to the perimeter of the verso", "watermarks": []}], "department": "Drawings", "collection": "DR - Flemish", "type": "Drawing", "measurements": "Sheet: 39.3 x 50 cm (15 1/2 x 19 11/16 in.)", "dimensions": {"sheet": {"height": 0.393, "height_inch": 15, "height_inch_fraction": 0.5, "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": "signed, lower right, in brown ink: [artist monogram: LC] inv. / 1664 Ag. ; by artist, upper center, in brown ink: Prospetto della Piazza Colonna ; by artist, throughout composition, in brown ink: [the letters A-E] ; by artist, lower left, in brown ink: A. Colonna Antonina, quam Xystus V. misere laceram erigi ussit, ac D Paulo conservavit. / B. Palatium Ecclmi Principis Marij Chisij Fratris Alexandri vii Pont: Maximi. / C Prospectus totius Plate\u00e6 Portam Flamineam versus.vulgo (Strada dell'Corso) Voca= / tam. / E Palatia Principis Ludovisij, quorum maius necdum est absolutum. ; VERSO, upper left, in brown ink?: 5 upper left, in graphite: 545 ; ON STRIPS OF PAPER MOUNTED TO VERSO, lower right, in graphite: Albertina 20968 ; lower right, in graphite: #2", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 518497, "title": "Ruins of Rome", "description": "<i>Ruins of Rome</i>. University Museum, University of Pennsylvania, Philadelphia, PA (organizer) (December 15, 1960-February 15, 1961); The Detroit Institute of Arts, Detroit, MI (March 26-May 7, 1961).", "opening_date": "1960-12-15T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 515949, "title": "Builders and Humanists", "description": "<i>Builders and Humanists</i>. University of St. Thomas, Houston, Houston, TX (organizer) (March 17-May 8, 1966).", "opening_date": "1966-03-17T05:00:00"}, {"id": 309575, "title": "Seventeenth Century Netherlandish Graphics", "description": "<i>Seventeenth Century Netherlandish Graphics</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-August 1, 1982).", "opening_date": "1982-04-27T04:00:00"}, {"id": 441437, "title": "Views of Rome", "description": "<i>Views of Rome</i>. American Academy in Rome, Rome, Italy (organizer) (October 13-November 20, 1989).", "opening_date": "1989-10-13T04:00:00"}, {"id": 212310, "title": "Life and the Arts in the Baroque Palaces of Rome: Ambiente Barocco", "description": "<i>Life and the Arts in the Baroque Palaces of Rome: Ambiente Barocco</i>. Bard Graduate Center: Decorative Arts, Design History, Material Culture, New York, NY (organizer) (March 10-June 13, 1999); The Nelson-Atkins Museum of Art, Kansas City, MO (July 21-October 3, 1999).", "opening_date": "1999-03-10T00:00:00"}, {"id": 227528, "title": "Courts of the Baroque Age: From Bernini and Velazquez to Luca Giordano", "description": "<i>Courts of the Baroque Age: From Bernini and Velazquez to Luca Giordano</i>. Palacio Real de Madrid, Madrid, Spain (October 15, 2003-January 11, 2004).", "opening_date": "2003-10-15T00:00:00"}], "legacy": [{"description": "Life and the Arts in the Baroque Palaces of Rome: Ambiente Barocco. The Bard Graduate Center for Studies in the Decorative Arts, New York, 10 March-13 June, 1999;  The Nelson-Atkins Museum of Art, Kansas City, MO, 21 July-3 October, 1999. Exh. cat. edited by Stefanie Walker and Frederick Hammond (New York, Yale University Press), pp. 116-17, nos. 2-3, repr. in color.", "opening_date": "1999-03-10T00:00:00"}, {"description": "Palacio Real de Madrid (10/15/2003 - 1/11/2004): \"Courts of the Baroque Age: From Bernini and Velazquez to Luca Giordano,\"  exh. cat. no. 2.18, p. 189.", "opening_date": "2003-10-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80019576"], "internet_archive": ["https://archive.org/details/clevelandart-1943.258-eighteen-views-of-ro"]}, "citations": [{"citation": "Habel, Dorothy Metzger. \"When All of Rome Was Under Construction\": The Building Process in Baroque Rome. 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Levin, 1972.248. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Untitled (Industrial Scene with Worker, Otis Steel Co., Cleveland)", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 28.6 x 25.7 cm (11 1/4 x 10 1/8 in.); Matted: 61 x 50.8 cm (24 x 20 in.)", "dimensions": {"image": {"height": 0.286, "height_inch": 11, "height_inch_fraction": 0.25, "width": 0.257, "width_inch": 10, "width_inch_fraction": 0.125}, "matted": {"height": 0.61, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Written in pencil on recto: \"Bourke-White [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 443916, "title": "Photographs of Margaret Bourke-White", "description": "<i>Photographs of Margaret Bourke-White</i>. The New Gallery of Contemporary Art, Cleveland, OH (organizer) (May 8-June 5, 1976).", "opening_date": "1976-05-08T04:00:00"}, {"id": 443644, "title": "Industrial Photography of the Early 20th Century", "description": "<i>Industrial Photography of the Early 20th Century</i>. Canton Museum of Art, Canton, OH (organizer) (December 4, 1976-February 13, 1977).", "opening_date": "1976-12-04T05:00:00"}, {"id": 309884, "title": "Urban Vicissitudes", "description": "<i>Urban Vicissitudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-September 29, 1985).", "opening_date": "1985-07-02T04:00:00"}, {"id": 222861, "title": "Steel and Real Estate(s): Margaret Bourke-White and Corporate Culture in Cleveland", "description": "<i>Steel and Real Estate(s): Margaret Bourke-White and Corporate Culture in Cleveland</i>. The College of Wooster Art Museum, Wooster, OH (organizer) (March 27-June 5, 2000).", "opening_date": "2000-03-27T00:00:00"}], "legacy": [{"description": "Cleveland, The New Gallery, 1976: \"Photographs of Margaret Bourke-White,\" and to Cleveland Restoration Festival, The Restoration Center, 1976.", "opening_date": "1976-01-01T00:00:00"}, {"description": "Canton, OH, Canton Art Institute, 1976 - 1977: \"Industrial Photography of the Early 20th Century.", "opening_date": "1976-01-01T00:00:00"}, {"description": "Cleveland Center of Contemporary Art, September 10 - November 7, 1993: \"Twenty-Five Years.\"", "opening_date": "1993-09-10T00:00:00"}, {"description": "Wooster, OH: The College of Wooster Art Museum \"Steel and Reasl Estate(s): Margaret Bourke-White and Corporate Culture in Cleveland\" 3/27-6/5/00, exh. cat. no. 85.", "opening_date": "2000-06-05T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925466"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 105", "url": ""}], "url": "https://clevelandart.org/art/1972.248", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Albert A. Levin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146828, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:50:42.665000"}, {"id": 166814, "accession_number": "2009.1", "share_license_status": "Copyrighted", "tombstone": "One and Three Photographs [Ety.], 1965. Joseph Kosuth (American, 1945-). Vintage photograph, photograph of a photograph, photographic enlargement of dictionary definition of \u2018photograph,\u2019 original photo-certificate with original cut-out definition; overall: 40.2 x 52 cm (15 13/16 x 20 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2009.1. \u00a9 Joseph Kosuth / Artists Rights Society (ARS), New York", "current_location": null, "title": "One and Three Photographs [Ety.]", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["male"], "culture": ["America"], "technique": "vintage photograph, photograph of a photograph, photographic enlargement of dictionary definition of \u2018photograph,\u2019 original photo-certificate with original cut-out definition", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Installation Media", "type": "Photograph", "measurements": "Overall: 40.2 x 52 cm (15 13/16 x 20 1/2 in.)", "dimensions": {"overall": {"height": 0.402, "height_inch": 15, "height_inch_fraction": 0.8125, "width": 0.52, "width_inch": 20, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Joseph Kosuth / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Kosuth is regarded as one of the most significant artists to champion conceptualism, which values the idea of an artwork over the physical object itself. In this work, Kosuth compares three different ways to present information, represented by an etymological dictionary definition of <em>photograph</em>, a photograph by Linda Butler of the nearby Peter B. Lewis building designed by Frank Gehry, and a life-size photograph of Butler\u2019s photograph. Kosuth\u2019s groundbreaking work presciently questions what it means for any image to be an \u201coriginal\u201d and whether this distinction influences a picture\u2019s meaning.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781040"], "internet_archive": []}, "citations": [{"citation": "Morsiani, Paolo. \"Analyzing Art.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>49, no. 8 (October 2009): 6-7.", "page_number": "Mentioned and reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2009-08/page/6/mode/2up"}, {"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. 117", "url": ""}], "url": "https://clevelandart.org/art/2009.1", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166814, "creators": [{"id": 57669, "description": "Joseph Kosuth (American, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "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": "2026-05-01 06:52:55.664000"}, {"id": 299896, "accession_number": "2017.130", "share_license_status": "Copyrighted", "tombstone": "Budapest Ghetto Series 1944: Two Figures, One Reading, 1944. Ilka Ged\u0151  (Hungarian, 1921\u20131985). Graphite; sheet: 13.2 x 16.1 cm (5 3/16 x 6 5/16 in.). The Cleveland Museum of Art, Gift of Sietske and Herman Turndorf, 2017.130", "current_location": null, "title": "Budapest Ghetto Series 1944: Two Figures, One Reading", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["Jewish artists", "female"], "culture": ["Hungary"], "technique": "graphite", "support_materials": [], "department": "Drawings", "collection": "DR - Misc. Countries", "type": "Drawing", "measurements": "Sheet: 13.2 x 16.1 cm (5 3/16 x 6 5/16 in.)", "dimensions": {"sheet": {"height": 0.132, "height_inch": 5, "height_inch_fraction": 0.1875, "width": 0.161, "width_inch": 6, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilka Ged\u00f6 began her artistic training in Budapest the age of 9. In 1944, Ged\u00f6 and her family were confined to the Budapest ghetto with other Jewish families. There she created a large body of sketches of life in the ghetto. Each drawing conveys the swiftness of line, gestural quality, and spontaneity of a work drawn from life. Her quickly sketched figures capture\u2014with their postures and blank stares\u2014various states of isolation and despair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79872638"], "internet_archive": []}, "citations": [{"citation": "Bi\u0301ro\u0301, Da\u0301vid, Ilka Gedo\u030b, and Istva\u0301n Hajdu. The Art of Ilka Gedo\u030b (1921-1985): Oeuvre Catalogue and Documents. Budapest: Gondolat Kiado\u0301, 2003.", "page_number": null, "url": null}, {"citation": "Hajdu, Istv\u00e1n. The Complete Works of Ilka Ged\u0151 (1921-1985): Digitized Catalogue Raisonn\u00e9, folder 53, \u201cGhetto 1944.\u201d www.ilkagedo.hu. http://mek.oszk.hu/kiallitas/gedo_ilka/", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2017.130", "images": {}, "alternate_images": [], "creditline": "Gift of Sietske and Herman Turndorf", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 299896, "creators": [{"id": 299898, "description": "Ilka Ged\u0151  (Hungarian, 1921\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1921", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "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": "2026-05-01 06:53:47.547000"}, {"id": 299950, "accession_number": "2017.131", "share_license_status": "Copyrighted", "tombstone": "Budapest Ghetto Series 1944: Three Seated Figures, 1944. Ilka Ged\u0151  (Hungarian, 1921\u20131985). Graphite; sheet: 32.8 x 21.9 cm (12 15/16 x 8 5/8 in.). The Cleveland Museum of Art, Gift of Sietske and Herman Turndorf, 2017.131", "current_location": null, "title": "Budapest Ghetto Series 1944: Three Seated Figures", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["Jewish artists", "female"], "culture": ["Hungary"], "technique": "graphite", "support_materials": [], "department": "Drawings", "collection": "DR - Misc. Countries", "type": "Drawing", "measurements": "Sheet: 32.8 x 21.9 cm (12 15/16 x 8 5/8 in.)", "dimensions": {"sheet": {"height": 0.328, "height_inch": 12, "height_inch_fraction": 0.9375, "width": 0.219, "width_inch": 8, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilka Ged\u00f6 began her artistic training in Budapest the age of 9. In 1944, Ged\u00f6 and her family were confined to the Budapest ghetto with other Jewish families. There she created a large body of sketches of life in the ghetto. Each drawing conveys the swiftness of line, gestural quality, and spontaneity of a work drawn from life. Her quickly sketched figures capture\u2014with their postures and blank stares\u2014various states of isolation and despair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79872641"], "internet_archive": []}, "citations": [{"citation": "Bi\u0301ro\u0301, Da\u0301vid, Ilka Gedo\u030b, and Istva\u0301n Hajdu. The Art of Ilka Gedo\u030b (1921-1985): Oeuvre Catalogue and Documents. Budapest: Gondolat Kiado\u0301, 2003.", "page_number": null, "url": null}, {"citation": "Hajdu, Istv\u00e1n. The Complete Works of Ilka Ged\u0151 (1921-1985): Digitized Catalogue Raisonn\u00e9, www.ilkagedo.hu. http://mek.oszk.hu/kiallitas/gedo_ilka/", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2017.131", "images": {}, "alternate_images": [], "creditline": "Gift of Sietske and Herman Turndorf", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 299950, "creators": [{"id": 299898, "description": "Ilka Ged\u0151  (Hungarian, 1921\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1921", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "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": "2026-05-01 06:53:47.590000"}, {"id": 308625, "accession_number": "2018.22", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1985. Adam Fuss (British, b. 1961). Gelatin silver print; image: 61 x 50.8 cm (24 x 20 in.). The Cleveland Museum of Art, Gift of Howard Read, 2018.22", "current_location": null, "title": "Untitled", "creation_date": "1985", "creation_date_earliest": 1985, "creation_date_latest": 1985, "artists_tags": ["male"], "culture": ["England , 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 61 x 50.8 cm (24 x 20 in.)", "dimensions": {"image": {"height": 0.61, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": "Edition 2/10", "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "From 1984 through 1986, Fuss used a pinhole camera to photograph classical sculpture in museums. For him, the skewed perspective and dark, blurry edges of the pinhole shots \u201ccreate or recreate a photographic space in which the sculptures could \u2018breathe.'\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79873405"], "internet_archive": []}, "citations": [{"citation": "Fuss, Adam. Pinhole Photographs. Washington: Smithsonian Institution Press, 1996.", "page_number": null, "url": null}, {"citation": "Eugenia Parry, <em>Adam Fuss</em>, Santa Fe: Arena Editions, 1997", "page_number": "7-8", "url": null}], "url": "https://clevelandart.org/art/2018.22", "images": {}, "alternate_images": [], "creditline": "Gift of Howard Read", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 308625, "creators": [{"id": 60844, "description": "Adam Fuss (British, b. 1961)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2018-02-26T00:00:00-05:00", "sortable_date": 1985, "date_added_to_oa": null, "date_text": "1985", "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": "2026-05-01 06:53:50.663000"}, {"id": 148754, "accession_number": "1929.1976", "share_license_status": "CC0", "tombstone": "A Woman of the Sabines, 1928. Clarence Holbrook Carter (American, 1904\u20132000). Oil on canvas; unframed: 55.3 x 46.4 cm (21 3/4 x 18 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1929.1976", "current_location": null, "title": "A Woman of the Sabines", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 55.3 x 46.4 cm (21 3/4 x 18 1/4 in.)", "dimensions": {"unframed": {"height": 0.553, "height_inch": 21, "height_inch_fraction": 0.75, "width": 0.464, "width_inch": 18, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Clarence H. Carter 28.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 381597, "title": "The May Show: 11th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 11th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 23-June 2, 1929).", "opening_date": "1929-04-23T05:00:00"}, {"id": 444812, "title": "A Retrospective Exhibition of Paintings and Constructions by Clarence Holbrooke Carter", "description": "<i>A Retrospective Exhibition of Paintings and Constructions by Clarence Holbrooke Carter</i>. New Jersey State Museum, Trenton, NJ (organizer) (March 20-May 27, 1974).", "opening_date": "1974-03-20T04:00:00"}, {"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art, Eleventh Annual Exhibition by Cleveland Artists and Craftsmen, (May, 1929) see The Bulletin of The Cleveland Museum of Art (May, 1929), pp. 79-86, 95, 98, Third Prize for Oil Painting, Figure Composition, listed p. 95; not illus.", "opening_date": "1929-05-01T00:00:00"}, {"description": "Elmira, NY, Arnot  Art Gallery, Exhibition of Oil Paintings, Water Colors, and Drawings by Clarence Holbrooke Carter (January, 1930) listed cat. no. 16, not illus.", "opening_date": "1930-01-01T00:00:00"}, {"description": "Cleveland, Cleveland School of Art, Clarence H. Carter in Review (1 November-19 November 1948) listed", "opening_date": "1948-11-01T00:00:00"}, {"description": "Trenton, NJ, New Jersey State Museum, A Retrospective Exhibition of Paintings and Constructions by Clarence Holbrooke Carter (30 March-27 May 1974) illus. cat. no. 2, p. 16.", "opening_date": "1974-03-30T00:00:00"}, {"description": "Tulsa, Oklahoma, Philbrook Art Center, Clarence Carter Retrospective (1976)", "opening_date": "1976-01-01T00:00:00"}]}, "provenance": [{"description": "Purchased in 1929 from the 11th May Show", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1395.1929", "1976.1929"], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117066475"], "internet_archive": []}, "citations": [{"citation": "Clarence Holbrook Carter Entry Card to 1929 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS01654"}], "url": "https://clevelandart.org/art/1929.1976", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.1976/1929.1976_web.jpg", "width": "754", "height": "900", "filesize": "164524", "filename": "1929.1976_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.1976/1929.1976_print.jpg", "width": "2850", "height": "3400", "filesize": "2257876", "filename": "1929.1976_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.1976/1929.1976_full.tif", "width": "4455", "height": "5315", "filesize": "71061440", "filename": "1929.1976_full.tif"}}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148754, "creators": [{"id": 9325, "description": "Clarence Holbrook Carter (American, 1904\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of Cleveland\u2019s most imaginative interpreters of the American scene, Clarence Carter was born in Portsmouth, Ohio, and developed a love of drawing at an early age. Encouraged by his family, he took private watercolor lessons and won art prizes in county and state fairs in his early teens. He studied with William Eastman, Henry Keller, and Paul Travis at the Cleveland School of Art, 1923\u201327. He exhibited in the annual May Shows at the Cleveland Museum of Art (1927\u201339). In 1927 William Milliken, then curator of paintings at the art museum, organized a subscription scholarship to allow Carter two years of travel through Italy, Switzerland, England, and France. In the summer of 1927 he studied in Capri with Hans Hofmann. On returning to Cleveland in 1929, Carter had his first solo exhibition at the Cleveland Art Center. He taught studio classes at the Cleveland Museum of Art, 1930\u201337. In 1934, under the auspices of the Public Works of Art Project, the first of the New Deal art programs, Carter was commissioned to paint two murals for Cleveland Public Auditorium. For a subsequent governmental art program, the Works Progress Administration, he served as a district supervisor for painting projects in north east Ohio. After 1935 he completed two federal mural commissions: one for the post office in Ravenna, Ohio, and another for the post office in his hometown. In 1938 he moved to Pittsburgh to teach at the Carnegie Institute of Technology (now Carnegie-Mellon University). During the 1930s and 1940s he showed in annual exhibitions in Philadelphia, New York City, Chicago, and Washington, D.C. <br><em>Transformations in Cleveland Art</em> (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1904", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1929-04-23T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:50:54.326000"}, {"id": 144259, "accession_number": "1969.102", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1969. Robert Davis (American, 1945\u20131981). Acrylic on plexiglas; framed: 133.7 x 131 cm (52 5/8 x 51 9/16 in.); unframed: 132 x 129.5 cm (51 15/16 x 51 in.). The Cleveland Museum of Art, Gift of the Twentieth Century Club, 1969.102", "current_location": null, "title": "Untitled", "creation_date": "1969", "creation_date_earliest": 1969, "creation_date_latest": 1969, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "acrylic on plexiglas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Cleveland School", "type": "Painting", "measurements": "Framed: 133.7 x 131 cm (52 5/8 x 51 9/16 in.); Unframed: 132 x 129.5 cm (51 15/16 x 51 in.)", "dimensions": {"framed": {"height": 1.337, "height_inch": 52, "height_inch_fraction": 0.625, "width": 1.31, "width_inch": 51, "width_inch_fraction": 0.5625}, "unframed": {"height": 1.32, "height_inch": 51, "height_inch_fraction": 0.9375, "width": 1.295, "width_inch": 51, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383233, "title": "The May Show: 51st Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve", "description": "<i>The May Show: 51st Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve</i>. 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Margaret Bourke-White (American, 1904\u20131971). Vintage gelatin silver print; image: 33.7 x 25.9 cm (13 1/4 x 10 3/16 in.); matted: 61 x 50.8 cm (24 x 20 in.). The Cleveland Museum of Art, Gift of Mrs. Albert A. Levin, 1974.215. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Smokestacks, Otis Steel Co., Cleveland", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "Vintage gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 33.7 x 25.9 cm (13 1/4 x 10 3/16 in.); Matted: 61 x 50.8 cm (24 x 20 in.)", "dimensions": {"image": {"height": 0.337, "height_inch": 13, "height_inch_fraction": 0.25, "width": 0.259, "width_inch": 10, "width_inch_fraction": 0.1875}, "matted": {"height": 0.61, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Written in pencil on recto: \"Bourke-White [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302084, "title": "Year in Review: 1974", "description": "<i>Year in Review: 1974</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 11-April 6, 1975).", "opening_date": "1975-03-11T04:00:00"}, {"id": 443916, "title": "Photographs of Margaret Bourke-White", "description": "<i>Photographs of Margaret Bourke-White</i>. The New Gallery of Contemporary Art, Cleveland, OH (organizer) (May 8-June 5, 1976).", "opening_date": "1976-05-08T04:00:00"}, {"id": 443644, "title": "Industrial Photography of the Early 20th Century", "description": "<i>Industrial Photography of the Early 20th Century</i>. Canton Museum of Art, Canton, OH (organizer) (December 4, 1976-February 13, 1977).", "opening_date": "1976-12-04T05:00:00"}, {"id": 443401, "title": "130 Years of Ohio Photography", "description": "<i>130 Years of Ohio Photography</i>. 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Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 259", "url": "https://archive.org/details/CMAHandbook1978/page/n279"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 103", "url": ""}], "url": "https://clevelandart.org/art/1974.215", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Albert A. Levin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147857, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": ["Untitled (Smokestacks)"], "is_highlight": false, "updated_at": "2026-05-01 06:50:48.707000"}, {"id": 132255, "accession_number": "1954.741", "share_license_status": "CC0", "tombstone": "The Assumption of the Virgin, 1517. Domenico Campagnola (Italian, 1500\u20131564). Engraving. The Cleveland Museum of Art, Dudley P. Allen Fund, 1954.741", "current_location": null, "title": "The Assumption of the Virgin", "creation_date": "1517", "creation_date_earliest": 1517, "creation_date_latest": 1517, "artists_tags": ["male"], "culture": ["Italy, 16th century"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301170, "title": "Prints 1400-1800", "description": "<i>Prints 1400-1800</i>. The Cleveland Museum of Art, Cleveland, OH (December 18, 1956-January 20, 1957); The Art Institute of Chicago, Chicago, IL (February 1-March 3, 1957); Minneapolis Institute of Art, Minneapolis, MN (November 1-December 1, 1957).", "opening_date": "1956-12-18T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 338393, "title": "Youthful Works by Great Artists", "description": "<i>Youthful Works by Great Artists</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (March 10-30, 1963).", "opening_date": "1963-03-10T05:00:00"}, {"id": 350269, "title": "Prints and Drawings from the Cleveland Museum of Art Collection", "description": "<i>Prints and Drawings from the Cleveland Museum of Art Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-September 9, 1965).", "opening_date": "1965-05-06T04:00:00"}, {"id": 350752, "title": "Old Master Prints and Drawings", "description": "<i>Old Master Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 29, 1966-February 28, 1967).", "opening_date": "1966-07-29T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80024142"], "internet_archive": ["https://archive.org/details/clevelandart-1954.741-the-assumption-of-th"]}, "citations": [{"citation": "Prasse, Leona. \"'The Assumption of the Virgin' by Domenico Campagnola.\" <em>The Bulletin of the Cleveland Museum of Art </em>42, no. 6 (June 1955): 120-124.", "page_number": "Mentioned: p. 121; Reproduced: p. 122", "url": "https://www.jstor.org/stable/25142047"}, {"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. 625", "url": "https://archive.org/details/CMAHandbook1958/page/n116"}, {"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. 95", "url": "https://archive.org/details/CMAHandbook1966/page/n119"}, {"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. 95", "url": "https://archive.org/details/CMAHandbook1969/page/n119"}, {"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. 110", "url": "https://archive.org/details/CMAHandbook1978/page/n130"}], "catalogue_raisonne": "Hind V(II).211.3 ; Bartsch XIII.381.4 ; Ottley II.770.4 ; Hind (B.M) 505.5", "url": "https://clevelandart.org/art/1954.741", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1954.741/1954.741_web.jpg", "width": "637", "height": "893", "filesize": "526925", "filename": "1954.741_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.741/1954.741_print.jpg", "width": "2425", "height": "3400", "filesize": "7134307", "filename": "1954.741_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.741/1954.741_full.tif", "width": "3512", "height": "4924", "filesize": "51914212", "filename": "1954.741_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 132255, "creators": [{"id": 24420, "description": "Domenico Campagnola (Italian, 1500\u20131564)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1500", "death_year": "1564", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-12-04T00:00:00", "sortable_date": 1517, "date_added_to_oa": null, "date_text": "1517", "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": "2026-05-01 06:49:21.658000"}, {"id": 173658, "accession_number": "1915.723", "share_license_status": "CC0", "tombstone": "Still Life with Fruit, 1873. Emilie Preyer (German, 1849\u20131930). Oil on fabric; unframed: 35 x 46.5 cm (13 3/4 x 18 5/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1915.723", "current_location": null, "title": "Still Life with Fruit", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["female"], "culture": ["Germany, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 35 x 46.5 cm (13 3/4 x 18 5/16 in.)", "dimensions": {"unframed": {"height": 0.35, "height_inch": 13, "height_inch_fraction": 0.75, "width": 0.465, "width_inch": 18, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right corner: Emilie Preijer 1873 ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Possibly S. V. Harkness, Cleveland (see note 8). H. B. Hurlbut, Cleveland. On permanent loan to the CMA in 1915.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["458.1915"], "did_you_know": null, "description": "This composition contains many elements that show Preyer's technical abilities. She convincingly rendered the various textures juxtaposed in this composition, such as the contrast between the white cloth and the polished marble table, and the reflecting surfaces of metal, water drops, and glass versus the delicate skin of peaches and grapes. The knife that appears to project out over the side of the table is an indicator of Preyer's familiarity with the tradition of Dutch still-life painting. After early training with her father, Johann Wilhelm Preyer (1803-1889), Emilie Preyer painted her first still life in 1867. For study purposes, she visited museums in Dresden, Antwerp, and the Netherlands. She focused primarily on still lifes of fruit.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230260"], "internet_archive": []}, "citations": [{"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. 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Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173658, "creators": [{"id": 6627, "description": "Emilie Preyer (German, 1849\u20131930)", "extent": null, "qualifier": null, "role": "artist", "biography": "After an early training with her father, Johann Wilhelm Preyer (1803-1889), Emilie painted her first still life in 1867. She worked in the same meticulous technique, perhaps slightly less accomplished, as that of her father. For study purposes, she visited museums in Dresden, Antwerp, and the Netherlands. Her oeuvre consists mainly of still lifes of fruit, apart from several early floral still lifes, and numbers about two hundred fifty paintings, many of which have found homes in the United States.", "name_in_original_language": null, "birth_year": "1849", "death_year": "1930", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-10-29T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "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": "2026-05-01 06:53:39.236000"}, {"id": 97881, "accession_number": "1917.486", "share_license_status": "Copyrighted", "tombstone": "Burden Basket Model, 1900. Mary Benson (Yokayo Pomo, 1877\u20131930). 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The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-June 14, 1964).", "opening_date": "1964-05-06T04:00:00"}, {"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 301224, "title": "May Show Retrospective - 50 Years", "description": "<i>May Show Retrospective - 50 Years</i>. The Cleveland Museum of Art (April 23-June 16, 1968).", "opening_date": "1968-04-23T05:00:00"}, {"id": 301411, "title": "Photograph Exhibition", "description": "<i>Photograph Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (July 13-September 19, 1971).", "opening_date": "1971-07-13T04:00:00"}, {"id": 301622, "title": "Source Material for Studio Projects", "description": "<i>Source Material for Studio Projects</i>. The Cleveland Museum of Art, Cleveland, OH (June 20-August 27, 1972).", "opening_date": "1972-06-20T04:00:00"}], "legacy": [{"description": "CMA, April 23 - June 16, 1968: \"May Show Retrospective - 50 years.\"", "opening_date": "1968-04-23T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80037840"], "internet_archive": []}, "citations": [{"citation": "Dennis Earl Moore Entry Card to 1964 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS13392"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P.", "url": ""}], "url": "https://clevelandart.org/art/1964.133", "images": {}, "alternate_images": [], "creditline": "Wishing Well Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140129, "creators": [{"id": 687, "description": "Dennis Earl Moore (American, b. 1943)", "extent": null, "qualifier": null, "role": "artist", "biography": "Dennis Earl Moore American, 1943- The work of Dennis Earl Moore, a graduate of the Cleveland Institute of Art in graphic design and photography (B.F.A., 1966), was included in the 1964 May Show, the Cleveland Museum of Art's regional juried exhibition. Since then Moore has redirected his energies to produce, direct, and design film and video projects for commercial and corporate clients. He founded his first company in 1966, and over the course of the following decade expanded into Dennis Earl Moore Productions, Inc. His projects have included two imax/Omnimax films, Living Planet and Flyers (1983); Reflections, a dual-screen 35mm film made for the Louisiana World Exposition's Oil Industries Pavilion (1984); an interactive theater for Biosphere 2, Tucson; and several installations for casinos in Atlantic City and Las Vegas. Moore lives in Brooklyn Heights, New York. A.W.", "name_in_original_language": null, "birth_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-05-06T00:00:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964", "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": "2026-05-01 06:50:06.823000"}, {"id": 126476, "accession_number": "1948.64", "share_license_status": "Copyrighted", "tombstone": "France - Champagne, 1891. Pierre Bonnard (French, 1867\u20131947). Lithograph; sheet: 79.3 x 59.9 cm (31 1/4 x 23 9/16 in.); image: 76 x 57.3 cm (29 15/16 x 22 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1948.64. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "France - Champagne", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 79.3 x 59.9 cm (31 1/4 x 23 9/16 in.); Image: 76 x 57.3 cm (29 15/16 x 22 9/16 in.)", "dimensions": {"sheet": {"height": 0.793, "height_inch": 31, "height_inch_fraction": 0.25, "width": 0.599, "width_inch": 23, "width_inch_fraction": 0.5625}, "image": {"height": 0.76, "height_inch": 29, "height_inch_fraction": 0.9375, "width": 0.573, "width_inch": 22, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 312067, "title": "The Pierre Bonnard Memorial Exhibition", "description": "<i>The Pierre Bonnard Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (March 3-April 11, 1948).", "opening_date": "1948-03-03T05:00:00"}, {"id": 301359, "title": "The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review", "description": "<i>The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review</i>. The Cleveland Museum of Art, Cleveland, OH (January 14-March 31, 1970).", "opening_date": "1970-01-14T05:00:00"}, {"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 310102, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-November 27, 1988).", "opening_date": "1988-07-12T04:00:00"}, {"id": 311461, "title": "Generous Donors: A Tribute to The Print Club of Cleveland", "description": "<i>Generous Donors: A Tribute to The Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79905922"], "internet_archive": ["https://archive.org/details/clevelandart-1948.64-france-champagne"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949.", "page_number": "Mentioned: p. 21", "url": "https://archive.org/details/Lithography/page/n28"}, {"citation": "Francis, Henry. \"The Art of Pierre Bonnard.\"<em> The Bulletin of the Cleveland Museum of Art </em>37, no. 1 (January 1950): 5-8.", "page_number": "Mentioned: p. 5", "url": "https://www.jstor.org/stable/25141599"}, {"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. 62-63, fig. 3", "url": "http://www.jstor.org/stable/25159571"}], "catalogue_raisonne": "Rog\u00e9r-Marx 1", "url": "https://clevelandart.org/art/1948.64", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126476, "creators": [{"id": 1733, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Bonnard was a law student when he began his artistic training in 1887 at the Acad\u00e9mie Julian in Paris, where he met Paul S\u00e9rusier (1864-1927) and the theorist and painter Maurice Denis (1870-1943). Both would be influential in his artistic career and become Bonnard's lifelong friends. In 1889, the year he obtained his law degree, he saw the exhibition at Caf\u00e9 Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. S\u00e9rusier, after having returned from studying with Gauguin in Pont-Aven, decided to form his own artistic group called the Nabis (Hebrew: prophets). The founding members of the Nabis included Denis, who wrote the manifesto for the group, \"D\u00e9finition du n\u00e9o-traditionnisme\" (published in May 1890 in Art et critique), Bonnard, Paul Ranson (1864-1909), and Henri-Gabriel Ibels (1867-1936). Their first exhibition occurred in 1891, and they were later joined by Ker-Xavier Roussel (1867-1944) and Vuillard (q.v.). Based loosely on the synthetist goals established by Gauguin and \u00c9mile Bernard, the movement was created from S\u00e9rusier's vision of an artistic brotherhood dedicated to symbolism whereby a universal language could be expressed through symbols. The Nabis were opposed to the naturalism taught at academies by artists such as Bouguereau (q.v.) and wanted to move away from didactic and moral paintings toward a more decorative style characterized by simplified drawing, flat patches of color, and heavy set contours. Bonnard's works of the 1890s were influenced by the innovations of Gauguin as well as Japanese prints, which were easily accessible in nineteenth-century Paris. His paintings took on a decorative quality, mirroring his artistic expressions in other media such as stained glass, furniture, pottery, and painted screens. Bonnard's and Vuillard's domestic interior paintings of the 1890s were often described using the term intimisme. In 1891 Bonnard also experimented with other media, including poster designs and lithographs, which inspired his friend Henri de Toulouse-Lautrec (1864-1901), whom he had met through La revue blanche, a magazine that published the Nabis' work. Around 1900 the members of the Nabis began to drift apart. Between 1905 and 1910 Bonnard and Vuillard traveled to England, Belgium, Holland, Spain, and Italy, visiting many museums. Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). After 1920 Bonnard exhibited extensively and became an internationally renowned artist, receiving much recognition in the United States, where he traveled in 1926.", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1948-05-03T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "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": "2026-05-01 06:48:50.527000"}, {"id": 140385, "accession_number": "1964.330", "share_license_status": "Copyrighted", "tombstone": "Slab-built Stoneware Jar, 1964. James Watral (American, 1942\u20132014). Glazed ceramic; overall: 36.8 x 12.7 cm (14 1/2 x 5 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1964.330", "current_location": null, "title": "Slab-built Stoneware Jar", "creation_date": "1964", "creation_date_earliest": 1964, "creation_date_latest": 1964, "artists_tags": ["Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "glazed ceramic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 36.8 x 12.7 cm (14 1/2 x 5 in.)", "dimensions": {"overall": {"height": 0.368, "height_inch": 14, "height_inch_fraction": 0.5, "width": 0.127, "width_inch": 5, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Purchased from CIA Student Sale.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Slab-built pottery is created by joining together rolled and shaped slabs of clay instead of using a potter's wheel. While the body of this jar was thrown with a potter's wheel, the slab-built technique was used where the rectangular slabs of clay encircle the mouth of the jar.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780976"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1964.330", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140385, "creators": [{"id": 46385, "description": "James Watral (American, 1942\u20132014)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1942", "death_year": "2014", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964", "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": "2026-05-01 06:50:08.857000"}, {"id": 147745, "accession_number": "1974.13.a", "share_license_status": "CC0", "tombstone": "Portrait of Gianfrancesco Gonzaga di R\u00f2digo, 1443-1496, Lord of Sabbionetta (obverse), 1479. Antico (Italian, c. 1460\u20131528). Bronze; diameter: 3.9 cm (1 9/16 in.). The Cleveland Museum of Art, Gift of Mrs. Chester D. Tripp, 1974.13.a", "current_location": null, "title": "Portrait of Gianfrancesco Gonzaga di R\u00f2digo, 1443-1496, Lord of Sabbionetta (obverse)", "creation_date": "1479", "creation_date_earliest": 1479, "creation_date_latest": 1479, "artists_tags": ["male"], "culture": ["Italy, 15th century"], "technique": "bronze", "support_materials": [], "department": "European Painting and Sculpture", "collection": "Sculpture", "type": "Sculpture", "measurements": "Diameter: 3.9 cm (1 9/16 in.)", "dimensions": {"diameter": {"height": 0.039, "height_inch": 1, "height_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "obverse:  IOHANNES FRANCISCVS GONZ(aga)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Chalandon (Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Paul Drey Gallery (New York, New York), sold to the Cleveland Museum of Art, 1974.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The art of the medal was introduced into Italy by Pisanello, His work as a medalist began with the portrait medal of this emperor, who, in 1438, visited the Council of Ferrara.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79927197"], "internet_archive": ["https://archive.org/details/clevelandart-1974.13.a-portrait-of-gianfran"]}, "citations": [], "url": "https://clevelandart.org/art/1974.13.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1974.13.a/1974.13.a_web.jpg", "width": "849", "height": "893", "filesize": "648995", "filename": "1974.13.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1974.13.a/1974.13.a_print.jpg", "width": "2905", "height": "3055", "filesize": "2690621", "filename": "1974.13.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1974.13.a/1974.13.a_full.tif", "width": "2905", "height": "3055", "filesize": "26660484", "filename": "1974.13.a_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Chester D. Tripp", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147745, "creators": [{"id": 5757, "description": "Antico (Italian, c. 1460\u20131528)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1460", "death_year": "1528", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1974-03-08T00:00:00", "sortable_date": 1479, "date_added_to_oa": null, "date_text": "1479", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1974.13", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:50:47.869000"}, {"id": 147746, "accession_number": "1974.13.b", "share_license_status": "CC0", "tombstone": "Portrait of Gianfrancesco Gonzaga di R\u00f2digo, 1443-1496, Lord of Sabbionetta (reverse), 1479. Antico (Italian, c. 1460\u20131528). Bronze; diameter: 3.9 cm (1 9/16 in.). The Cleveland Museum of Art, Gift of Mrs. Chester D. Tripp, 1974.13.b", "current_location": null, "title": "Portrait of Gianfrancesco Gonzaga di R\u00f2digo, 1443-1496, Lord of Sabbionetta (reverse)", "creation_date": "1479", "creation_date_earliest": 1479, "creation_date_latest": 1479, "artists_tags": ["male"], "culture": ["Italy, 15th century"], "technique": "bronze", "support_materials": [], "department": "European Painting and Sculpture", "collection": "Sculpture", "type": "Sculpture", "measurements": "Diameter: 3.9 cm (1 9/16 in.)", "dimensions": {"diameter": {"height": 0.039, "height_inch": 1, "height_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "reverse: above: FORVICTRICI; in exergue: ANTI.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Chalandon, paris.  (Paul Drey Gallery, New York).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The art of the medal was introduced into Italy by Pisanello, His work as a medalist began with the portrait medal of this emperor, who, in 1438, visited the Council of Ferrara.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79927201"], "internet_archive": ["https://archive.org/details/clevelandart-1974.13.b-portrait-of-gianfran"]}, "citations": [], "url": "https://clevelandart.org/art/1974.13.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1974.13.b/1974.13.b_web.jpg", "width": "825", "height": "893", "filesize": "604190", "filename": "1974.13.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1974.13.b/1974.13.b_print.jpg", "width": "3036", "height": "3288", "filesize": "2669589", "filename": "1974.13.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1974.13.b/1974.13.b_full.tif", "width": "3036", "height": "3288", "filesize": "29982640", "filename": "1974.13.b_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Chester D. Tripp", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147746, "creators": [{"id": 5757, "description": "Antico (Italian, c. 1460\u20131528)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1460", "death_year": "1528", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1974-03-08T00:00:00", "sortable_date": 1479, "date_added_to_oa": null, "date_text": "1479", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1974.13", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:50:47.878000"}, {"id": 159749, "accession_number": "1997.120", "share_license_status": "Copyrighted", "tombstone": "The Ukimido at Katata, from the series Eight Views of Omi, 1918. It\u014d Shinsui (Japanese, 1898\u20131972). Color woodblock print; overall: 32.3 x 22.6 cm (12 11/16 x 8 7/8 in.). The Cleveland Museum of Art, Bequest of Mrs. A. Dean Perry, 1997.120", "current_location": null, "title": "The Ukimido at Katata, from the series Eight Views of Omi", "creation_date": "1918", "creation_date_earliest": 1918, "creation_date_latest": 1918, "artists_tags": ["male"], "culture": ["Japan, Taish\u014d period (1912\u201326)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Overall: 32.3 x 22.6 cm (12 11/16 x 8 7/8 in.)", "dimensions": {"overall": {"height": 0.323, "height_inch": 12, "height_inch_fraction": 0.6875, "width": 0.226, "width_inch": 8, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The Ukimido is a picturesque 16th-century pavilion situated at the narrowest part of Lake Biwa near Kyoto.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979866"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1997.120", "images": {}, "alternate_images": [], "creditline": "Bequest of Mrs. A. Dean Perry", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159749, "creators": [{"id": 11303, "description": "It\u014d Shinsui (Japanese, 1898\u20131972)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u4f0a\u6771 \u6df1\u6c34", "birth_year": "1898", "death_year": "1972", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-06-02T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "1918", "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": "2026-05-01 06:52:05.605000"}, {"id": 160667, "accession_number": "1998.42.2", "share_license_status": "CC0", "tombstone": "Sagot's Gallery, 1898. 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Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160672, "creators": [{"id": 11544, "description": "Georges Alfred Bottini (French, 1874\u20131907)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1874", "death_year": "1907", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1898, "date_added_to_oa": null, "date_text": "1898", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1998.42", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:12.995000"}, {"id": 160673, "accession_number": "1998.42.8", "share_license_status": "CC0", "tombstone": "Sagot's Gallery, 1898. Georges Alfred Bottini (French, 1874\u20131907). Color separation proof in green; sheet: 38 x 28.1 cm (14 15/16 x 11 1/16 in.); image: 29 x 18.6 cm (11 7/16 x 7 5/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1998.42.8", "current_location": null, "title": "Sagot's Gallery", "creation_date": "1898", "creation_date_earliest": 1898, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color separation proof in green", "support_materials": [{"description": "cream (3) wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Apparatus", "type": "Print", "measurements": "Sheet: 38 x 28.1 cm (14 15/16 x 11 1/16 in.); Image: 29 x 18.6 cm (11 7/16 x 7 5/16 in.)", "dimensions": {"sheet": {"height": 0.38, "height_inch": 14, "height_inch_fraction": 0.9375, "width": 0.281, "width_inch": 11, "width_inch_fraction": 0.0625}, "image": {"height": 0.29, "height_inch": 11, "height_inch_fraction": 0.4375, "width": 0.186, "width_inch": 7, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower right, in graphite: 27", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Edmond D. Sagot's great grandson", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The last decades of the 19th century were the golden era of French color lithography.  Jules Cheret (1836-1932) popularized the technique to make colorful posters which, by 1884, were also exhibited as a legitimate art form.  In 1891 Cheret began to design posters without lettering to frame and hang on walls---still an unusual idea since prints were usually stored in portfolios.  The explosion in color lithography was also encouraged by the use of zinc plates, which were lighter, cheaper, and more pliable than traditional lithographic stones.  Also important was the formation of artist's organizations like the Soci\u00e9t\u00e9 des artistes lithographie (Society of Lithographic Artists) and the Soci\u00e9t\u00e9 de l'estampe originale (Society of Original Prints), which stimulated original printmaking.  By the 1890s a proliferation of fine printers, independent exhibitions, publications devoted to prints, critics, publishers, and dealers like Sagot, all supported color lithography.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982265"], "internet_archive": ["https://archive.org/details/clevelandart-1998.42.8-sagot-s-gallery"]}, "citations": [], "catalogue_raisonne": "Southard 27", "url": "https://clevelandart.org/art/1998.42.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.42.8/1998.42.8_web.jpg", "width": "666", "height": "900", "filesize": "163388", "filename": "1998.42.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.42.8/1998.42.8_print.jpg", "width": "2517", "height": "3400", "filesize": "1897543", "filename": "1998.42.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.42.8/1998.42.8_full.tif", "width": "7863", "height": "10622", "filesize": "250587248", "filename": "1998.42.8_full.tif"}}, "alternate_images": [{"date_created": "2005-12-01T19:42:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.42.8/1998.42.8_alt0_web.jpg", "width": "583", "height": "893", "filesize": "233625"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.42.8/1998.42.8_alt0_print.jpg", "width": "2220", "height": "3400", "filesize": "3189920"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.42.8/1998.42.8_alt0_full.tif", "width": "3471", "height": "5316", "filesize": "55383064"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160673, "creators": [{"id": 11544, "description": "Georges Alfred Bottini (French, 1874\u20131907)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1874", "death_year": "1907", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1898, "date_added_to_oa": null, "date_text": "1898", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1998.42", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:13.002000"}, {"id": 161002, "accession_number": "1999.250", "share_license_status": "Copyrighted", "tombstone": "Green Land at Night, 1953. Yayoi Kusama (Japanese, 1929-). Black chalk and green monotype with blue gouache; sheet: 33.9 x 32.2 cm (13 3/8 x 12 11/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1999.250", "current_location": null, "title": "Green Land at Night", "creation_date": "1953", "creation_date_earliest": 1953, "creation_date_latest": 1953, "artists_tags": ["female"], "culture": ["Japan"], "technique": "black chalk and green monotype with blue gouache", "support_materials": [{"description": "red wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - Japanese", "type": "Drawing", "measurements": "Sheet: 33.9 x 32.2 cm (13 3/8 x 12 11/16 in.)", "dimensions": {"sheet": {"height": 0.339, "height_inch": 13, "height_inch_fraction": 0.375, "width": 0.322, "width_inch": 12, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "VERSO: signed, lower center, in purple ink: 12 1/2 x 13 1/4  GREEN LAND AT NIGHT / 1953 / KUSAMA ; inscribed, lower right, in blue ballpoint pen: 34x32cm ; inscribed, lower center, in graphite [Blumarts Inc. inventory number]: PBYK--23", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "[Blumarts Inc., New York]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Kusama is known for her obsessive paintings and sculptures of repeated forms, but this earlier work develops a theme she explored at the beginning of her career, around the time she first exhibited her work in Tokyo. Using red paper, she drew luminous ovoid and round objects that evoke glowing planetary bodies. Here she employed a combination of techniques, including green monotype (meaning she applied the green pigment to another surface and then transferred it to the paper), which she then filled in with blue gouache (opaque watercolor).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79983160"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1999.250", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161002, "creators": [{"id": 37174, "description": "Yayoi Kusama (Japanese, 1929-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1929", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1999-12-06T00:00:00", "sortable_date": 1953, "date_added_to_oa": null, "date_text": "1953", "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": "2026-05-01 06:52:15.302000"}, {"id": 164881, "accession_number": "2006.243", "share_license_status": "CC0", "tombstone": "A Selection of Twenty of the Most Picturesque Views in Paris: View of Pont de la Tournelle & Notre Dame taken from the Arsenal, 1802. Thomas Girtin (British, 1775\u20131802), Frederick Christian Lewis (British, 1779\u20131856). Softground etching and aquatint printed in brown; sheet: 19.9 x 48.7 cm (7 13/16 x 19 3/16 in.); image: 15.1 x 44.5 cm (5 15/16 x 17 1/2 in.). The Cleveland Museum of Art, Gift of John Bonebrake, 2006.243", "current_location": null, "title": "A Selection of Twenty of the Most Picturesque Views in Paris: View of Pont de la Tournelle & Notre Dame taken from the Arsenal", "creation_date": "1802", "creation_date_earliest": 1802, "creation_date_latest": 1802, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "softground etching and aquatint printed in brown", "support_materials": [{"description": "mounted on board", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 19.9 x 48.7 cm (7 13/16 x 19 3/16 in.); Image: 15.1 x 44.5 cm (5 15/16 x 17 1/2 in.)", "dimensions": {"sheet": {"height": 0.199, "height_inch": 7, "height_inch_fraction": 0.8125, "width": 0.487, "width_inch": 19, "width_inch_fraction": 0.1875}, "image": {"height": 0.151, "height_inch": 5, "height_inch_fraction": 0.9375, "width": 0.445, "width_inch": 17, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Lower margin, in pencil: Pont de la Tounelle & Notre Dame - Early proof", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Girtin, along with his rival J. M. W. Turner, extended the technical possibilities of watercolor and in doing so demonstrated that watercolors could have the visual impact of oils. His reduction of landscape to simple and monumental forms, his panoramic compositions, and his sensitivity to natural effects, such as cloud formations, influenced subsequent generations of watercolor painters. Anxious to take advantage of the Peace of Amiens (October 1, 1801), Girtin went to Paris to see the artistic treasures brought back from Italy by Napoleon and installed in the Louvre. He made graphite sketches of the city and its environs and upon his return to London made etchings based on his drawings. Girtin died of tuberculosis shortly thereafter, and the series was published by his widow and brother.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79993058"], "internet_archive": ["https://archive.org/details/clevelandart-2006.243-a-selection-of-twent"]}, "citations": [], "catalogue_raisonne": "Abbey 102, 11 without letters", "url": "https://clevelandart.org/art/2006.243", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2006.243/2006.243_web.jpg", "width": "1263", "height": "451", "filesize": "444891", "filename": "2006.243_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2006.243/2006.243_print.jpg", "width": "3400", "height": "1214", "filesize": "3506472", "filename": "2006.243_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2006.243/2006.243_full.tif", "width": "4740", "height": "1692", "filesize": "24090516", "filename": "2006.243_full.tif"}}, "alternate_images": [{"date_created": "2008-06-24T19:37:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.243/2006.243_alt0_web.jpg", "width": "1263", "height": "523", "filesize": "482525"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.243/2006.243_alt0_print.jpg", "width": "3400", "height": "1409", "filesize": "3873776"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.243/2006.243_alt0_full.tif", "width": "6285", "height": "2604", "filesize": "49130772"}}], "creditline": "Gift of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 164881, "creators": [{"id": 1370, "description": "Thomas Girtin (British, 1775\u20131802)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1775", "death_year": "1802", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 47609, "description": "Frederick Christian Lewis (British, 1779\u20131856)", "extent": null, "qualifier": null, "role": "aquatint by", "biography": null, "name_in_original_language": null, "birth_year": "1779", "death_year": "1856", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1802, "date_added_to_oa": null, "date_text": "1802", "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": "early proof", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:42.222000"}, {"id": 306666, "accession_number": "2017.132.a", "share_license_status": "Copyrighted", "tombstone": "Budapest Ghetto Series 1944: Man Leaning (recto), 1944. Ilka Ged\u0151  (Hungarian, 1921\u20131985). Graphite; sheet: 29.7 x 22.8 cm (11 11/16 x 9 in.). The Cleveland Museum of Art, Gift of Sietske and Herman Turndorf, 2017.132.a", "current_location": null, "title": "Budapest Ghetto Series 1944: Man Leaning (recto)", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["Jewish artists", "female"], "culture": ["Hungary"], "technique": "graphite", "support_materials": [], "department": "Drawings", "collection": "DR - Misc. Countries", "type": "Drawing", "measurements": "Sheet: 29.7 x 22.8 cm (11 11/16 x 9 in.)", "dimensions": {"sheet": {"height": 0.297, "height_inch": 11, "height_inch_fraction": 0.6875, "width": 0.228, "width_inch": 9, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilka Ged\u00f6 began her artistic training in Budapest the age of 9. In 1944, Ged\u00f6 and her family were confined to the Budapest ghetto. There she created a large body of sketches of life in the ghetto. Each drawing conveys the swiftness of line, gestural quality, and spontaneity of a work drawn from life. Her quickly-sketched figures capture\u2014with their postures and blank stares\u2014various states of isolation and despair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79873203"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2017.132.a", "images": {}, "alternate_images": [], "creditline": "Gift of Sietske and Herman Turndorf", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 306666, "creators": [{"id": 299898, "description": "Ilka Ged\u0151  (Hungarian, 1921\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1921", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2017.132", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:53:50.043000"}, {"id": 306667, "accession_number": "2017.132.b", "share_license_status": "Copyrighted", "tombstone": "Budapest Ghetto Series 1944: Four Figures Seated at a Table (verso), 1944. Ilka Ged\u0151  (Hungarian, 1921\u20131985). Graphite; sheet: 29.7 x 22.8 cm (11 11/16 x 9 in.). The Cleveland Museum of Art, Gift of Sietske and Herman Turndorf, 2017.132.b", "current_location": null, "title": "Budapest Ghetto Series 1944: Four Figures Seated at a Table (verso)", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["Jewish artists", "female"], "culture": ["Hungary"], "technique": "graphite", "support_materials": [], "department": "Drawings", "collection": "DR - Misc. Countries", "type": "Drawing", "measurements": "Sheet: 29.7 x 22.8 cm (11 11/16 x 9 in.)", "dimensions": {"sheet": {"height": 0.297, "height_inch": 11, "height_inch_fraction": 0.6875, "width": 0.228, "width_inch": 9, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilka Ged\u00f6 began her artistic training in Budapest the age of 9. In 1944, Ged\u00f6 and her family were confined to the Budapest ghetto. There she created a large body of sketches of life in the ghetto. Each drawing conveys the swiftness of line, gestural quality, and spontaneity of a work drawn from life. Her quickly-sketched figures capture\u2014with their postures and blank stares\u2014various states of isolation and despair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79873205"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2017.132.b", "images": {}, "alternate_images": [], "creditline": "Gift of Sietske and Herman Turndorf", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 306667, "creators": [{"id": 299898, "description": "Ilka Ged\u0151  (Hungarian, 1921\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1921", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2017.132", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:53:50.050000"}, {"id": 135772, "accession_number": "1959.304", "share_license_status": "CC0", "tombstone": "Nude Man with Raised Arms (recto) Seated Man (verso), 1911. Egon Schiele (Austrian, 1890\u20131918). Graphite; sheet: 48.2 x 31.9 cm (19 x 12 9/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Severance A. 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The Cleveland Museum of Art, Silver Jubilee Treasure Fund, 1947.84", "current_location": null, "title": "Windsong for Parting Summer", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "watercolor", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in lower right: \"Roger Anliker 1947 (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382039, "title": "The May Show: 29th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 29th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 30-June 8, 1947).", "opening_date": "1947-04-30T04:00:00"}, {"id": 311950, "title": "Contemporary Drawings", "description": "<i>Contemporary Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (January 24-February 12, 1950).", "opening_date": "1950-01-24T05:00:00"}, {"id": 705520, "title": "Work of Cleveland Artists for the 41st Annual Meeting of the College Art Association", "description": "<i>Work of Cleveland Artists for the 41st Annual Meeting of the College Art Association</i>. The Cleveland Institute of Art, Cleveland, OH (organizer) (January 29-31, 1953).", "opening_date": "1953-01-29T05:00:00"}, {"id": 515587, "title": "Retrospective Exhibition of Works of Roger Anliker", "description": "<i>Retrospective Exhibition of Works of Roger Anliker</i>. Stella Elkins Tyler School of Fine Arts, Temple University, Philadelphia, PA (organizer) (February 12-March 14, 1965).", "opening_date": "1965-02-12T05:00:00"}], "legacy": [{"description": "<em>Twenty-Ninth Annual Exhibition of Work by Cleveland Artists and Craftsmen. </em>The Cleveland Museum of Art, Cleveland, OH (1947)", "opening_date": "1947-01-01T00:00:00"}]}, "provenance": [{"description": "Roger Anliker (the artist) [1924-2013]", "citations": [], "footnotes": [], "date": "1947", "sortorder": 1}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "April 28, 1947", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79904888"], "internet_archive": []}, "citations": [{"citation": "Roger Anliker Entry Card to 1947 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS07698"}], "url": "https://clevelandart.org/art/1947.84", "images": {}, "alternate_images": [], "creditline": "Silver Jubilee Treasure Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125831, "creators": [{"id": 14938, "description": "Roger Anliker (American, 1924\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1924", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-04-28T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "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": "2026-05-01 06:48:46.926000"}, {"id": 141752, "accession_number": "1965.332", "share_license_status": "Copyrighted", "tombstone": "Man on a Church Porch, West Palm Beach, 1941. Arnold Newman (American, 1918\u20132006). Gelatin silver print; image: 39.1 x 42.8 cm (15 3/8 x 16 7/8 in.); matted: 55.9 x 71.1 cm (22 x 28 in.). The Cleveland Museum of Art, Gift of the Artist, 1965.332. \u00a9 Arnold Newman", "current_location": null, "title": "Man on a Church Porch, West Palm Beach", "creation_date": "1941", "creation_date_earliest": 1941, "creation_date_latest": 1941, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 39.1 x 42.8 cm (15 3/8 x 16 7/8 in.); Matted: 55.9 x 71.1 cm (22 x 28 in.)", "dimensions": {"image": {"height": 0.391, "height_inch": 15, "height_inch_fraction": 0.375, "width": 0.428, "width_inch": 16, "width_inch_fraction": 0.875}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.711, "width_inch": 28, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Arnold Newman", "inscriptions": [{"inscription": "Written in black ink on recto: \"\u00a9 Arnold Newman\"; on label on verso: \" 'Man in Church Doorway' / Original Photograph / by Arnold Newman\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}, {"id": 301411, "title": "Photograph Exhibition", "description": "<i>Photograph Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (July 13-September 19, 1971).", "opening_date": "1971-07-13T04:00:00"}, {"id": 301622, "title": "Source Material for Studio Projects", "description": "<i>Source Material for Studio Projects</i>. The Cleveland Museum of Art, Cleveland, OH (June 20-August 27, 1972).", "opening_date": "1972-06-20T04:00:00"}], "legacy": [{"description": "New York World's Fair, 1965: \"Photography in the Fine Arts.\"", "opening_date": "1965-01-01T00:00:00"}, {"description": "CMA, October 27 - November 14, 1965: \"Year in Review 1965,\" (November 1965), p. 157, no. 178.", "opening_date": "1965-10-27T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80041447"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 255", "url": ""}], "url": "https://clevelandart.org/art/1965.332", "images": {}, "alternate_images": [], "creditline": "Gift of the Artist", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141752, "creators": [{"id": 17603, "description": "Arnold Newman (American, 1918\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Arnold Newman American, 1918- Arnold Newman, recognized as one of the foremost portrait photographers of the 20th century, is known especially for developing the \"environmental portrait\", which places subjects within their own personal spaces, rather than inside the photographer's studio. Initially interested in painting, Newman spent two years studying art at the University of Miami (1936-38) before financial problems led him to take a job in a photographic portrait studio in Philadelphia. He then managed a commercial portrait studio in Florida. Inspired by the social documentary work of the era's Farm Security Administration photographers, Newman began to photograph in the poorer sections of West Palm Beach. In 1941 his photographs and those of his friend Ben Rose were exhibited at the AD gallery in New York City. That same year Newman began making portraits of artists in New York, images that were featured in a one-person show at the Brooklyn Museum (December 1941-January 1942). In 1942 Newman opened his own studio in Miami Beach and continued photographing artists during visits to New York. Three years later the Philadelphia Museum of Art organized a traveling exhibition of these portraits, Artists Look Like This. In 1946 Newman left Florida for New York City, establishing himself as a commercial photographer. He began taking pictures for Harper's Bazaar, Life, and Fortune magazines and by the 1950s was also receiving assignments from Holiday. In the 1950s-60s he continued his portrait series of artists and also photographed such well-known political figures as Dwight Eisenhower, Adlai Stevenson, John F. Kennedy, and Richard Nixon for Life and Holiday. Newman often traveled abroad, producing a number of photo essays for Holiday and other publications. His work has been featured in many exhibitions, including Arnold Newman: Five Decades, organized by the Museum of Photographic Arts, San Diego (1986), and Arnold Newman's Americans, at the National Portrait Gallery, Washington, D.C. (1992), both accompanied by exhibition catalogues. Newman lives in New York. M.M.", "name_in_original_language": null, "birth_year": "1918", "death_year": "2006", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-09-11T00:00:00", "sortable_date": 1941, "date_added_to_oa": null, "date_text": "1941", "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": "2026-05-01 06:50:18.133000"}, {"id": 147858, "accession_number": "1974.216", "share_license_status": "Copyrighted", "tombstone": "Untitled (Train with Oil Cars, Otis Steel Co., Cleveland), 1928. Margaret Bourke-White (American, 1904\u20131971). Gelatin silver print; image: 32.8 x 25 cm (12 15/16 x 9 13/16 in.); matted: 61 x 50.8 cm (24 x 20 in.). The Cleveland Museum of Art, Gift of Mrs. Albert A. Levin, 1974.216. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Untitled (Train with Oil Cars, Otis Steel Co., Cleveland)", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 32.8 x 25 cm (12 15/16 x 9 13/16 in.); Matted: 61 x 50.8 cm (24 x 20 in.)", "dimensions": {"image": {"height": 0.328, "height_inch": 12, "height_inch_fraction": 0.9375, "width": 0.25, "width_inch": 9, "width_inch_fraction": 0.8125}, "matted": {"height": 0.61, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Written in pencil on recto: \"Bourke-White [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302084, "title": "Year in Review: 1974", "description": "<i>Year in Review: 1974</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 11-April 6, 1975).", "opening_date": "1975-03-11T04:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 222861, "title": "Steel and Real Estate(s): Margaret Bourke-White and Corporate Culture in Cleveland", "description": "<i>Steel and Real Estate(s): Margaret Bourke-White and Corporate Culture in Cleveland</i>. The College of Wooster Art Museum, Wooster, OH (organizer) (March 27-June 5, 2000).", "opening_date": "2000-03-27T00:00:00"}, {"id": 188842, "title": "Conserving the Past for the Future", "description": "<i>Conserving the Past for the Future</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-May 6, 2001).", "opening_date": "2001-03-04T00:00:00"}], "legacy": [{"description": "Wooster, OH: The College of Wooster Art Museum \"Steel and Reasl Estate(s): Margaret Bourke-White and Corporate Culture in Cleveland\" 3/27-6/5/00, exh. cat. no. 82.", "opening_date": "2000-06-05T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79927467"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 106", "url": ""}], "url": "https://clevelandart.org/art/1974.216", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Albert A. Levin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147858, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:50:48.727000"}, {"id": 115032, "accession_number": "1935.20", "share_license_status": "CC0", "tombstone": "The Milkmaid, 1510. Lucas van Leyden (Netherlandish, 1494\u2013about 1533). Engraving; image: 11.4 x 15.6 cm (4 1/2 x 6 1/8 in.); sheet: 11.4 x 15.6 cm (4 1/2 x 6 1/8 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1935.20", "current_location": null, "title": "The Milkmaid", "creation_date": "1510", "creation_date_earliest": 1510, "creation_date_latest": 1510, "artists_tags": ["male"], "culture": ["Netherlands, 16th century"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Image: 11.4 x 15.6 cm (4 1/2 x 6 1/8 in.); Sheet: 11.4 x 15.6 cm (4 1/2 x 6 1/8 in.)", "dimensions": {"image": {"height": 0.114, "height_inch": 4, "height_inch_fraction": 0.5, "width": 0.156, "width_inch": 6, "width_inch_fraction": 0.125}, "sheet": {"height": 0.114, "height_inch": 4, "height_inch_fraction": 0.5, "width": 0.156, "width_inch": 6, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 356130, "title": "Prints Accessioned in 1935", "description": "<i>Prints Accessioned in 1935</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 14-November 8, 1936).", "opening_date": "1936-10-14T05:00:00"}, {"id": 345796, "title": "Prints by Lucas Van Leyden and His Contemporaries", "description": "<i>Prints by Lucas Van Leyden and His Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 28-April 2, 1939).", "opening_date": "1939-02-28T05:00:00"}, {"id": 304516, "title": "Eight Masters of the Print", "description": "<i>Eight Masters of the Print</i>. The Cleveland Museum of Art, Cleveland, OH (October 14, 1980-January 18, 1981).", "opening_date": "1980-10-14T04:00:00"}, {"id": 310281, "title": "Northern Landscape Traditions: 16th and 17th Century Prints and Drawings", "description": "<i>Northern Landscape Traditions: 16th and 17th Century Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10-December 31, 1989).", "opening_date": "1989-10-10T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80007983"], "internet_archive": ["https://archive.org/details/clevelandart-1935.20-the-milkmaid"]}, "citations": [{"citation": "Francis, Henry. \"A Gift of Prints from Leonard C. Hanna, Jr.\" <em>The Bulletin of the Cleveland Museum of Art </em>22, no. 3 (March 1935): 38, 43-45", "page_number": "Mentioned: p. 43", "url": "jstor.org/stable/25137686"}, {"citation": "Francis, Henry. \"Recent Print Accessions by Lucas Van Leyden.\" <em>The Bulletin of the Cleveland Museum of Art </em>22, no. 9 (November 1935): 142-145", "page_number": "Mentioned: p. 145", "url": "https://www.jstor.org/stable/25137723"}], "catalogue_raisonne": "Hollstein 158", "url": "https://clevelandart.org/art/1935.20", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.20/1935.20_web.jpg", "width": "1210", "height": "893", "filesize": "988769", "filename": "1935.20_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.20/1935.20_print.jpg", "width": "3400", "height": "2510", "filesize": "7534946", "filename": "1935.20_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.20/1935.20_full.tif", "width": "4979", "height": "3676", "filesize": "54942084", "filename": "1935.20_full.tif"}}, "alternate_images": [], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115032, "creators": [{"id": 22613, "description": "Lucas van Leyden (Netherlandish, 1494\u2013about 1533)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1494", "death_year": "1533", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1935-01-03T00:00:00", "sortable_date": 1510, "date_added_to_oa": null, "date_text": "1510", "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": "2026-05-04 22:24:14.267000"}, {"id": 138646, "accession_number": "1962.65", "share_license_status": "Copyrighted", "tombstone": "Pig Lady, 1961. Richard Lazzaro (American, 1937\u20132019). Oil on canvas; unframed: 119.4 x 89.4 cm (47 x 35 3/16 in.). The Cleveland Museum of Art, Wishing Well Fund, 1962.65", "current_location": null, "title": "Pig Lady", "creation_date": "1961", "creation_date_earliest": 1961, "creation_date_latest": 1961, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Cleveland School", "type": "Painting", "measurements": "Unframed: 119.4 x 89.4 cm (47 x 35 3/16 in.)", "dimensions": {"unframed": {"height": 1.194, "height_inch": 47, "height_inch_fraction": 0.0, "width": 0.894, "width_inch": 35, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  Lazzaro .61.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304104, "title": "The May Show: 44th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve", "description": "<i>The May Show: 44th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 16-June 24, 1962).", "opening_date": "1962-05-16T04:00:00"}, {"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": 445531, "title": "Untitled Exhibition", "description": "<i>Untitled Exhibition</i>. Cleveland Public Library, Cleveland, OH (organizer) (August 15-November 12, 1971).", "opening_date": "1971-08-15T04:00:00"}, {"id": 302646, "title": "A Study in Regional Taste: May Show 1919 - 1975", "description": "<i>A Study in Regional Taste: May Show 1919 - 1975</i>. The Cleveland Museum of Art, Cleveland, OH (July 13-August 21, 1977).", "opening_date": "1977-07-13T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["574.62"], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469031"], "internet_archive": []}, "citations": [{"citation": "Richard Lazzaro Entry Card to 1962 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS12917/"}, {"citation": "Hoffman, Jay, Dee Driscole, and Mary Clare Zahler. <em>A Study in Regional Taste: The May Show, 1919-1975</em>. [Cleveland]: Cleveland Museum of Art, 1977.", "page_number": "Reproduced: P. 69, no. 27; Mentioned: P. 78, no. 27", "url": ""}], "url": "https://clevelandart.org/art/1962.65", "images": {}, "alternate_images": [], "creditline": "Wishing Well Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138646, "creators": [{"id": 4305, "description": "Richard Lazzaro (American, 1937\u20132019)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1937", "death_year": "2019", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-06-02T00:00:00", "sortable_date": 1961, "date_added_to_oa": null, "date_text": "1961", "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": "2026-05-01 06:49:56.668000"}, {"id": 146825, "accession_number": "1972.245", "share_license_status": "Copyrighted", "tombstone": "Untitled (Industrial Scene, Otis Steel Co., Cleveland), 1928. Margaret Bourke-White (American, 1904\u20131971). Gelatin silver print; image: 34.2 x 25.9 cm (13 7/16 x 10 3/16 in.); matted: 66 x 55.9 cm (26 x 22 in.). The Cleveland Museum of Art, Gift of Mrs. Albert A. Levin, 1972.245. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Untitled (Industrial Scene, Otis Steel Co., Cleveland)", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 34.2 x 25.9 cm (13 7/16 x 10 3/16 in.); Matted: 66 x 55.9 cm (26 x 22 in.)", "dimensions": {"image": {"height": 0.342, "height_inch": 13, "height_inch_fraction": 0.4375, "width": 0.259, "width_inch": 10, "width_inch_fraction": 0.1875}, "matted": {"height": 0.66, "height_inch": 26, "height_inch_fraction": 0.0, "width": 0.559, "width_inch": 22, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Written in pencil on recto: \"Bourke-White [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780901"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1972.\" <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (1973): 63-115.", "page_number": "p. 113, no. 244", "url": "www.jstor.org/stable/25093732"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 105", "url": ""}], "url": "https://clevelandart.org/art/1972.245", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Albert A. Levin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146825, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:50:42.646000"}, {"id": 173669, "accession_number": "1915.695", "share_license_status": "CC0", "tombstone": "Pitcher and a Glass on a Table, 1878. Otto H. Bacher (American, 1856\u20131909). Oil on wood; unframed: 57 x 35.6 cm (22 7/16 x 14 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1915.695", "current_location": null, "title": "Pitcher and a Glass on a Table", "creation_date": "1878", "creation_date_earliest": 1878, "creation_date_latest": 1878, "artists_tags": ["male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on wood", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 57 x 35.6 cm (22 7/16 x 14 in.)", "dimensions": {"unframed": {"height": 0.57, "height_inch": 22, "height_inch_fraction": 0.4375, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed upper left corner:  Otto H. Bacher / 78", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 227782, "title": "Long Term Loan - Ohio Artists in the Governor's Residence", "description": "<i>Long Term Loan - Ohio Artists in the Governor's Residence</i>. Ohio Governor's Residence, Bexley, Ohio (April 22, 2002-December 31, 2006).", "opening_date": "2002-04-22T04:00:00"}], "legacy": [{"description": "Framingham, MA, Danforth Museum of Art, Explorations in Realism: 1870-1880-Frank Duveneck and His Circle from Bavaria to Venice (21 April-2 July 1989), cat. no. 8, illus. p. 52.", "opening_date": "1989-04-21T00:00:00"}, {"description": "Cleveland, Western Reserve Historical Society, F.C. Gottwald and the Old Bohemians (13 November1993-30 January 1994); traveled to Sandusky, Sandusky Cultural Center (6-27 February 1994), cat. no. 32, illus. p. 25.", "opening_date": "1994-01-03T00:00:00"}]}, "provenance": [{"description": "H. B. Hurlbut, Cleveland (1880).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["467.1915"], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230265", "https://www.wikidata.org/wiki/Q60482739"], "internet_archive": ["https://archive.org/details/clevelandart-1915.695-pitcher-and-a-glass"]}, "citations": [{"citation": "Sackerlotzky, Rotraud, Mary Sayre Haverstock, Nan Grossman. <em>F.C. Gottwald and the Old Bohemians. </em>Cleveland, Ohio: Cleveland Artists Foundation, 1993.", "page_number": "Reproduced: p. 25; Mentioned: p. 24", "url": null}, {"citation": "Strahan, Edward, ed. <em>The Art Treasures of America: Being the Choicest Works of Art in the Public and Private Collections of North America</em>. vol. 8. Philadelphia: Gebbie &amp; Barrie, 1879.", "page_number": "Mentioned: p. 74", "url": null}, {"citation": "Cleveland Museum of Art. \"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 60:1 (January, 1973). pp. 1-36.", "page_number": "Mentioned: p. 22", "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. 5", "url": null}], "url": "https://clevelandart.org/art/1915.695", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.695/1915.695_web.jpg", "width": "546", "height": "893", "filesize": "444612", "filename": "1915.695_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.695/1915.695_print.jpg", "width": "2079", "height": "3400", "filesize": "7238868", "filename": "1915.695_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.695/1915.695_full.tif", "width": "3589", "height": "5868", "filesize": "63210044", "filename": "1915.695_full.tif"}}, "alternate_images": [{"date_created": "2010-11-10T20:56:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.695/1915.695_alt0_web.jpg", "width": "554", "height": "893", "filesize": "249072"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.695/1915.695_alt0_print.jpg", "width": "2109", "height": "3400", "filesize": "4069656"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.695/1915.695_alt0_full.tif", "width": "3792", "height": "6112", "filesize": "69554752"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173669, "creators": [{"id": 3002, "description": "Otto H. Bacher (American, 1856\u20131909)", "extent": null, "qualifier": null, "role": "artist", "biography": "Painter and printmaker Otto Bacher was the first artist from Cleveland to earn international renown in the art world. Born in Cleveland, Bacher grew up in a neighborhood bordering the east bank of the Cuyahoga River near the mouth of Lake Erie. A childhood pastime of sketching shipping activities in the busy port eventually led to a job painting inscriptions on commercial vessels. He became interested in art during his teen years and studied with De Scott Evans and also learned from Willis Seaver Adams and Sion Wenban. In 1876 Bacher helped found the Art Club and had a solo show at the Kemmer and Kushman Decorating Company. The following year he had his second solo exhibition, at J. W. Sargeant\u2019 s Art Shop. He traveled to Europe in 1878, attended the Munich Royal Academy, and studied with Cincinnati native Frank Duveneck in Munich, Florence, and Venice. A chance meeting in Venice with James A. McNeill Whistler in 1880 led to a long friendship that had a decisive effect on Bacher\u2019 s etching style. In 1883 Bacher returned to Cleveland and began teaching at the Cleveland Academy of Art and privately at a summer retreat he organized in Richfield, Ohio. He returned to Europe in 1885, hoping to stay for an extended period, but his financial situation forced him to come back to America. After a brief visit to Cleveland, Bacher settled in New York City. To support himself, he did illustrations for <em>Century Magazine</em> in 1888. In 1895 he moved to Bronxville, New York, and by that time his artistic style revealed a strong debt to impressionism. During the last two decades of his life, he exhibited in New York, London, Paris, St. Louis, Philadelphia, and Cleveland. Bacher died in Bronxville.<br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 222.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1909", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-10-29T00:00:00", "sortable_date": 1878, "date_added_to_oa": null, "date_text": "1878", "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": "2026-05-01 06:53:39.271000"}, {"id": 105641, "accession_number": "1923.746.2", "share_license_status": "CC0", "tombstone": "The Round Passion: Christ Crowned with Thorns, 1509. 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The Cleveland Museum of Art, Cleveland, OH (December 3, 1959-January 20, 1960).", "opening_date": "1959-12-03T05:00:00"}, {"id": 304516, "title": "Eight Masters of the Print", "description": "<i>Eight Masters of the Print</i>. The Cleveland Museum of Art, Cleveland, OH (October 14, 1980-January 18, 1981).", "opening_date": "1980-10-14T04:00:00"}], "legacy": []}, "provenance": [{"description": "Alfred Morrison", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "O. Gerstenberg", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Alfred Morrison; O. Gerstenberg", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1787.1923", "1923.747"], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79891516"], "internet_archive": ["https://archive.org/details/clevelandart-1923.746.2-the-round-passion-ch"]}, "citations": [], "catalogue_raisonne": "Hollstein 62", "url": "https://clevelandart.org/art/1923.746.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.746.2/1923.746.2_web.jpg", "width": "900", "height": "888", "filesize": "432080", "filename": "1923.746.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.746.2/1923.746.2_print.jpg", "width": "3400", "height": "3354", "filesize": "4265206", "filename": "1923.746.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.746.2/1923.746.2_full.tif", "width": "3913", "height": "3860", "filesize": "45342512", "filename": "1923.746.2_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 105641, "creators": [{"id": 22613, "description": "Lucas van Leyden (Netherlandish, 1494\u2013about 1533)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1494", "death_year": "1533", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-10-22T00:00:00", "sortable_date": 1509, "date_added_to_oa": null, "date_text": "1509", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1923.746", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-05 11:11:52.667000"}, {"id": 144676, "accession_number": "1969.299", "share_license_status": "CC0", "tombstone": "The Wheat Field, 1648. Jacob van Ruisdael (Dutch, 1628/29\u20131682). Etching. The Cleveland Museum of Art, Dudley P. Allen Fund, 1969.299", "current_location": null, "title": "The Wheat Field", "creation_date": "1648", "creation_date_earliest": 1648, "creation_date_latest": 1648, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": "IV/IV", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301391, "title": "Year in Review: 1970", "description": "<i>Year in Review: 1970</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 7, 1971).", "opening_date": "1971-02-10T05:00:00"}, {"id": 302152, "title": "The Vocabulary of Prints", "description": "<i>The Vocabulary of Prints</i>. The Cleveland Museum of Art, Cleveland, OH (July 29-December 31, 1975).", "opening_date": "1975-07-29T04:00:00"}, {"id": 309575, "title": "Seventeenth Century Netherlandish Graphics", "description": "<i>Seventeenth Century Netherlandish Graphics</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-August 1, 1982).", "opening_date": "1982-04-27T04:00:00"}, {"id": 309856, "title": "Prints by Rembrandt and His Circle", "description": "<i>Prints by Rembrandt and His Circle</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-May 25, 1984).", "opening_date": "1984-01-24T05:00:00"}, {"id": 310281, "title": "Northern Landscape Traditions: 16th and 17th Century Prints and Drawings", "description": "<i>Northern Landscape Traditions: 16th and 17th Century Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10-December 31, 1989).", "opening_date": "1989-10-10T04:00:00"}], "legacy": []}, "provenance": [{"description": "J. F. Linck, Berlin", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Fritz Rumpf, Potsdam", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Unidentified collector's mark", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "J. F. 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She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). 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Traveled to:  The Minnepolis Institute of Arts, 1980; The Detroit Institute of Art, 1980-1981; Museum of Fine Arts, Boston, 1981", "opening_date": "1980-01-01T00:00:00"}, {"description": "CMA 1982:  \"The Age of Bronze,\" July 13-October 17, 1982, no cat.", "opening_date": "1982-07-13T00:00:00"}]}, "provenance": [{"description": "[Heim Gallery, London].", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79928082"], "internet_archive": ["https://archive.org/details/clevelandart-1975.113-portrait-medallion"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1975.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 2 (February 1976): 31\u201371.", "page_number": "Reproduced: p. 41; Mentioned: p. 65, no. 7", "url": "http://www.jstor.org/stable/25152624"}], "url": "https://clevelandart.org/art/1975.113", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.113/1975.113_web.jpg", "width": "1006", "height": "893", "filesize": "155363", "filename": "1975.113_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.113/1975.113_print.jpg", "width": "3400", "height": "3018", "filesize": "1642109", "filename": "1975.113_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.113/1975.113_full.tif", "width": "6315", "height": "5607", "filesize": "106257508", "filename": "1975.113_full.tif"}}, "alternate_images": [{"date_created": "2013-09-19T11:27:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.113/1975.113_alt0_web.jpg", "width": "973", "height": "893", "filesize": "117638"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.113/1975.113_alt0_print.jpg", "width": "3400", "height": "3119", "filesize": "1798295"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.113/1975.113_alt0_full.tif", "width": "6281", "height": "5762", "filesize": "108603760"}}], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148092, "creators": [{"id": 5949, "description": "Jean-Auguste Barre (French, 1811\u20131896)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1811", "death_year": "1896", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-11-29T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "1830", "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": "2026-05-01 06:50:50.468000"}, {"id": 149547, "accession_number": "1979.123", "share_license_status": "CC0", "tombstone": "Beggar Seated on a Bank, 1630. Rembrandt van Rijn (Dutch, 1606\u20131669). Etching; sheet: 11.8 x 7 cm (4 5/8 x 2 3/4 in.); platemark: 11.6 x 6.8 cm (4 9/16 x 2 11/16 in.). The Cleveland Museum of Art, Sundry Purchase Fund, 1979.123", "current_location": null, "title": "Beggar Seated on a Bank", "creation_date": "1630", "creation_date_earliest": 1630, "creation_date_latest": 1630, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "etching", "support_materials": [{"description": "cream(3) laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 11.8 x 7 cm (4 5/8 x 2 3/4 in.); Platemark: 11.6 x 6.8 cm (4 9/16 x 2 11/16 in.)", "dimensions": {"sheet": {"height": 0.118, "height_inch": 4, "height_inch_fraction": 0.625, "width": 0.07, "width_inch": 2, "width_inch_fraction": 0.75}, "platemark": {"height": 0.116, "height_inch": 4, "height_inch_fraction": 0.5625, "width": 0.068, "width_inch": 2, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "upper right, in graphite: 17[4 4?] ; lower center, in plate: RHL[in monogram] 1630 ; VERSO, center, in graphite: B. 174 ; center right, in pen and brown ink: E[sideways] # / 4.10 ; across surface, various inscriptions: illegible [faded, erased]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. 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Donson Ltd.)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79930870"], "internet_archive": ["https://archive.org/details/clevelandart-1979.123-beggar-seated-on-a-b"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Reproduced: cat. no. 39, p. 67; Mentioned: p. 60", "url": "https://www.jstor.org/stable/25159667"}], "catalogue_raisonne": "Hollstein 174 (XVIII.85)", "url": "https://clevelandart.org/art/1979.123", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.123/1979.123_web.jpg", "width": "552", "height": "893", "filesize": "436859", "filename": "1979.123_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.123/1979.123_print.jpg", "width": "2102", "height": "3400", "filesize": "5290556", "filename": "1979.123_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.123/1979.123_full.tif", "width": "3166", "height": "5121", "filesize": "48670988", "filename": "1979.123_full.tif"}}, "alternate_images": [], "creditline": "Sundry Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149547, "creators": [{"id": 2520, "description": "Rembrandt van Rijn (Dutch, 1606\u20131669)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1606", "death_year": "1669", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-01-30T00:00:00", "sortable_date": 1630, "date_added_to_oa": null, "date_text": "1630", "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": "2026-05-01 06:50:59.125000"}, {"id": 159020, "accession_number": "1995.227", "share_license_status": "Copyrighted", "tombstone": "Greyhound Mechanic, 1943. Esther Bubley (American, 1921\u20131998). Gelatin silver print; image: 30.3 x 25.1 cm (11 15/16 x 9 7/8 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1995.227", "current_location": null, "title": "Greyhound Mechanic", "creation_date": "1943", "creation_date_earliest": 1943, "creation_date_latest": 1943, "artists_tags": ["Jewish artists", "female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 30.3 x 25.1 cm (11 15/16 x 9 7/8 in.); Matted: 50.8 x 40.6 cm (20 x 16 in.)", "dimensions": {"image": {"height": 0.303, "height_inch": 11, "height_inch_fraction": 0.9375, "width": 0.251, "width_inch": 9, "width_inch_fraction": 0.875}, "matted": {"height": 0.508, "height_inch": 20, "height_inch_fraction": 0.0, "width": 0.406, "width_inch": 16, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso: \" 'Greyhound Mechanic' / by / Esther Bubley [underlined]/ ca 1940's /  VINTAGE PRINT [underlined]/  her signature below / charming\"; Esther Bubley [signed]\". \"SW / inventory 77.1\";  \"PF 12001\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 189766, "title": "Industry and Photography: Selections from the Permanent Collection", "description": "<i>Industry and Photography: Selections from the Permanent Collection</i>. 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Einstein Company, Inc., New York, NY)", "citations": [], "footnotes": [], "date": "?-1995", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 4, 1995", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79977988"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 113", "url": ""}], "url": "https://clevelandart.org/art/1995.227", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159020, "creators": [{"id": 282, "description": "Esther Bubley (American, 1921\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Esther Bubley American, 1921- Photojournalist Esther Bubley, born in Phillips, Wisconsin, began her career working with Roy Stryker in the Office of War Information during the 1940s. After studies at Superior State Teachers College (1937\u201338) and the Minneapolis College of Art and Design (1939), Bubley secured a temporary job in New York City as a freelance photographer for Vogue in 1940. She moved to Washington, D.C., a year or two later, working as a microfilmer at the National Archives and then as a darkroom technician for Roy Stryker at the Farm Security Administration. In 1942 the fsa was transferred to the Office of War Information; Bubley was promoted to staff photographer the following year. She embarked on her first assignment, a study of the country's bus system, in September 1943. During a six-week bus trip she took more than 400 pictures documenting her travels throughout the Midwest and the South. Shortly after the assignment began, Stryker resigned from the government to oversee the Standard Oil Company's new photographic project. He invited Bubley to participate, and in 1945 she spent several weeks photographing various Texas oil towns. Two years later she produced a second bus series for the company. In the late 1940s Bubley accepted occasional assignments from the Ladies Home Journal (the \"How America Lives\" series) and in 1951 began working for Life, an association that lasted until the magazine ceased publication. Throughout her career Bubley has also photographed for McCall's, Harper's Bazaar, Saturday Evening Post, Good Housekeeping, and U.S. Camera. She lives in New York. M.M.", "name_in_original_language": null, "birth_year": "1921", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1943, "date_added_to_oa": null, "date_text": "1943", "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": "2026-05-01 06:52:00.302000"}, {"id": 110908, "accession_number": "1929.425", "share_license_status": "CC0", "tombstone": "Composition - Globe, 1929. Augustus Peck (American, 1906\u20131975). Linoleum cut; image: 36 x 27.5 cm (14 3/16 x 10 13/16 in.); sheet: 44.4 x 35.4 cm (17 1/2 x 13 15/16 in.). 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Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS01761/"}, {"citation": "Salsbury, Britany. \"Karamu Artists Inc. and Printmaking in the WPA Era.\" In <em>Karamu Artists Inc.: Printmaking, Race, and Community, </em>Britany Salsbury and Erin Benay, 16-55. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 20-21, fig. 4", "url": ""}], "url": "https://clevelandart.org/art/1929.425", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.425/1929.425_web.jpg", "width": "671", "height": "893", "filesize": "481145", "filename": "1929.425_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.425/1929.425_print.jpg", "width": "1942", "height": "2585", "filesize": "3602888", "filename": "1929.425_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.425/1929.425_full.tif", "width": "1942", "height": "2585", "filesize": "15084708", "filename": "1929.425_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110908, "creators": [{"id": 15373, "description": "Augustus Peck (American, 1906\u20131975)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1975", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1929-05-16T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "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": "2026-05-01 06:47:30.424000"}, {"id": 155816, "accession_number": "1991.132", "share_license_status": "CC0", "tombstone": "Covered Bowl, 1927. Kenneth F. Bates (American, Cleveland, 1904\u20131994). Copper and enamel; diameter: 11.5 cm (4 1/2 in.); overall: 8 cm (3 1/8 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Kenneth F. Bates, 1991.132", "current_location": null, "title": "Covered Bowl", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["May Show", "Cleveland Institute of Art (faculty)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "copper and enamel", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Enamel", "measurements": "Diameter: 11.5 cm (4 1/2 in.); Overall: 8 cm (3 1/8 in.)", "dimensions": {"diameter": {"width": 0.115, "width_inch": 4, "width_inch_fraction": 0.5}, "overall": {"height": 0.08, "height_inch": 3, "height_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "incised on bottom: \"Kenneth F. Bates  1927.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 381573, "title": "The May Show: 9th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 9th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 5, 1927).", "opening_date": "1927-04-27T04:00:00"}, {"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. 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After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. 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Bates", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155818, "creators": [{"id": 8589, "description": "Kenneth F. Bates (American, Cleveland, 1904\u20131994)", "extent": null, "qualifier": null, "role": "artist", "biography": "Kenneth F. Bates was a long-time member of the faculty of the Cleveland Institute of Art, who specialized in enamel work and was nationally recognized for his achievements in the field. Born to Francis and Winnette Litchfield Bates in North Scituate, MA, Kenneth pursued his art education at the Massachussetts School of Art and earned his bachelor's degree there. He came to Cleveland in 1926, and one year later joined the faculty of the Cleveland School of Art (later Cleveland Institute of Art). During his forty-three years at the CIA, he taught advanced courses in enameling and became professor emeritus in 1971. 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Richard Anuszkiewicz (American, 1930\u20132020). Oil on masonite; unframed: 61 x 101.6 cm (24 x 40 in.). The Cleveland Museum of Art, Cleveland Traveling Exhibitions Fund, 1952.133. \u00a9 Richard Anuszkiewicz/Licensed by VAGA, New York, NY", "current_location": null, "title": "Trolley Stop Still Life", "creation_date": "1952", "creation_date_earliest": 1952, "creation_date_latest": 1952, "artists_tags": ["Jewish artists", "May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 61 x 101.6 cm (24 x 40 in.)", "dimensions": {"unframed": {"height": 0.61, "height_inch": 24, "height_inch_fraction": 0.0, "width": 1.016, "width_inch": 40, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Richard Anuszkiewicz/Licensed by VAGA, New York, NY", "inscriptions": [{"inscription": "Signed lower right: R. Anuskiewicz 52", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 383019, "title": "The May Show: 34th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 34th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 30-June 8, 1952).", "opening_date": "1952-04-30T04:00:00"}, {"id": 301224, "title": "May Show Retrospective - 50 Years", "description": "<i>May Show Retrospective - 50 Years</i>. The Cleveland Museum of Art (April 23-June 16, 1968).", "opening_date": "1968-04-23T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["459.52"], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515923"], "internet_archive": []}, "citations": [{"citation": "Richard Anuszkiewicz Entry Card to 1952 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS09334/"}, {"citation": "Channing, Laurence, \"Before Neo: The May Show\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 07, September 2005", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM2005-07/page/8"}, {"citation": "Waldman, Lawrence, and Henry Adams. Strange and Lonely Spaces: Magic Realism in Cleveland 1930 - 1960. 2021.", "page_number": "Mentioned: p. 74; reproduced: p. 76, fig. 49", "url": ""}], "url": "https://clevelandart.org/art/1952.133", "images": {}, "alternate_images": [], "creditline": "Cleveland Traveling Exhibitions Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129242, "creators": [{"id": 3351, "description": "Richard Anuszkiewicz (American, 1930\u20132020)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1930", "death_year": "2020", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-04-28T00:00:00", "sortable_date": 1952, "date_added_to_oa": null, "date_text": "1952", "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": "2026-05-01 06:49:05.230000"}, {"id": 165663, "accession_number": "2007.69", "share_license_status": "Copyrighted", "tombstone": "The Day After, 1929. Eli Lotar (French, 1905\u20131969). Gelatin silver print; image: 15.6 x 22 cm (6 1/8 x 8 11/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.69", "current_location": null, "title": "The Day After", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 15.6 x 22 cm (6 1/8 x 8 11/16 in.)", "dimensions": {"image": {"height": 0.156, "height_inch": 6, "height_inch_fraction": 0.125, "width": 0.22, "width_inch": 8, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Many notations written in pencil on verso\r\nWritten in black ink on verso: \"Lendemain\"\r\nWritten in blue ink on verso: \"Photo Eli Lotar\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 335582, "title": "Par\u00eds y los Surrealistas.", "description": "<i>Par\u00eds y los Surrealistas.</i>. Centre de Cultura Contempor\u00e0nia de Barcelona, Spain (February 18-May 22, 2005); Museo de Bellas Artes, Bilbao (June 20-September 18, 2005).", "opening_date": "2005-02-18T05:00:00"}, {"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. 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Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "Mentioned: p. 53; reproduced: p. 54; reproduced and mentioned: p. 221.", "url": null}, {"citation": "Combali\u0301a Dexeus, Victoria. Pari\u0301s y los surrealistas. Bilbao: Museo de Bellas Artes de Bilbao, 2005.", "page_number": "Reproduced and mentioned: p. 228.", "url": null}, {"citation": "Amao, Damarice, Cle\u0301ment Che\u0301roux, Pia Viewing, and Eli Lotar. Eli Lotar. 2017.", "page_number": "Reproduced: p. 75.", "url": null}], "url": "https://clevelandart.org/art/2007.69", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165663, "creators": [{"id": 55377, "description": "Eli Lotar (French, 1905\u20131969)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1905", "death_year": "1969", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "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": ["Tomorrow"], "is_highlight": false, "updated_at": "2026-05-01 06:52:47.949000"}, {"id": 110868, "accession_number": "1929.389", "share_license_status": "CC0", "tombstone": "Two Fawns, 1929. Waylande Gregory (American, 1905\u20131971), Cowan Pottery Studio (America, Ohio, Rocky River, 1920\u20131931). Earthenware; part 1: 33.7 x 17.8 cm (13 1/4 x 7 in.); part 2: 30.8 x 17.8 cm (12 1/8 x 7 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1929.389", "current_location": null, "title": "Two Fawns", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "earthenware", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Part 1: 33.7 x 17.8 cm (13 1/4 x 7 in.); Part 2: 30.8 x 17.8 cm (12 1/8 x 7 in.)", "dimensions": {"part 1": {"height": 0.337, "height_inch": 13, "height_inch_fraction": 0.25, "width": 0.178, "width_inch": 7, "width_inch_fraction": 0.0}, "part 2": {"height": 0.308, "height_inch": 12, "height_inch_fraction": 0.125, "width": 0.178, "width_inch": 7, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 381597, "title": "The May Show: 11th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 11th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS01668/"}, {"citation": "Hawley, Henry. \u201cCowan Pottery and the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 76, no. 7 (September 1989): 238\u2013263. http://www.jstor.org/stable/25160082", "page_number": "Mentioned and reproduced: p. 246-248, fig. 13", "url": "http://www.jstor.org/stable/25160082"}], "url": "https://clevelandart.org/art/1929.389", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.389/1929.389_web.jpg", "width": "900", "height": "699", "filesize": "202029", "filename": "1929.389_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.389/1929.389_print.jpg", "width": "3400", "height": "2641", "filesize": "1277864", "filename": "1929.389_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.389/1929.389_full.tif", "width": "10179", "height": "7908", "filesize": "241514208", "filename": "1929.389_full.tif"}}, "alternate_images": [{"date_created": "2019-10-15T20:41:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.389/1929.389_alt0_web.jpg", "width": "900", "height": "739", "filesize": "217106"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.389/1929.389_alt0_print.jpg", "width": "3400", "height": "2793", "filesize": "1494320"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.389/1929.389_alt0_full.tif", "width": "9596", "height": "7883", "filesize": "226963712"}}], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110868, "creators": [{"id": 18592, "description": "Waylande Gregory (American, 1905\u20131971)", "extent": null, "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1905", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 681237, "description": "Cowan Pottery Studio (America, Ohio, Rocky River, 1920\u20131931)", "extent": null, "qualifier": null, "role": "made at", "biography": "The Cowan Pottery Studio was founded by R. Guy Cowan in Lakewood, Ohio, United States in 1912. It moved to Rocky River, Ohio in 1920, and operated until 1931, when the financial stress of the Great Depression resulted in its bankruptcy. Cowan Pottery produced both artistic and commercial work in a variety of styles influenced by the Arts and Crafts Movement, Art Deco, Chinese ceramics, and modern sculpture. <br> <br>During its two decades of operation, a number of well-known Cleveland School artists worked with Cowan at the studio: Elizabeth Anderson, Arthur Eugene Baggs, Alexander Blazys, Paul Bogatay, Edris Eckhardt, Waylande Gregory, A. Drexler Jacobson, Raoul Josset, Paul Manship, Jos\u00e9 Martin, Herman Matzen, F. Luis Mora, Elmer L. Novotny, Margaret Postgate, Stephen Rebeck, Guy L. Rixford, Viktor Schreckengost, Elsa Vick Shaw, Walter Sinz, Frank N. Wilcox, H. Edward Winter, and Thelma Frazier Winter. With the exception of Guy Cowan, himself, Waylande Gregory designed more pieces for the pottery than anyone else. Among Cowan's finest pieces were three limited edition figures relating to dance, including \"Salome\" (1928), \"The Nautch Dancer,\" (1930), and \"The Burlesque Dancer,\" (1930). For the last two, Gregory made sketches from the side of the stage of the well-known Ziegfeld Follies star, Gilda Grey, when she was performing in Cleveland.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1929-05-16T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "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": "2026-05-01 06:47:30.307000"}, {"id": 122954, "accession_number": "1943.223", "share_license_status": "Copyrighted", "tombstone": "Unpleasant Landscape, 1942. John Paul Miller (American, 1918\u20132013). Watercolor. The Cleveland Museum of Art, Cleveland Traveling Exhibitions Fund, 1943.223", "current_location": null, "title": "Unpleasant Landscape", "creation_date": "1942", "creation_date_earliest": 1942, "creation_date_latest": 1942, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)", "Cleveland School", "LGBTQ+ (after 1900)", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "watercolor", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 382035, "title": "The May Show: 25th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 25th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 6, 1943).", "opening_date": "1943-04-27T04:00:00"}], "legacy": [{"description": "CMA 2010: \"The Jewerly of John Paul Miller\" (6/15/2010- 1/2/2011), no catalogue", "opening_date": "2010-06-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80019502"], "internet_archive": []}, "citations": [{"citation": "John Paul Miller Entry Card to 1943 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS06637"}, {"citation": "John Paul Miller collection. 1850-2010, bulk 1940-2000. Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/JohnPaulMiller"}], "url": "https://clevelandart.org/art/1943.223", "images": {}, "alternate_images": [], "creditline": "Cleveland Traveling Exhibitions Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122954, "creators": [{"id": 56027, "description": "John Paul Miller (American, 1918\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-04-26T00:00:00", "sortable_date": 1942, "date_added_to_oa": null, "date_text": "1942", "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": "2026-05-01 06:48:28.249000"}, {"id": 135307, "accession_number": "1958.317", "share_license_status": "Copyrighted", "tombstone": "Matador's Family, 1957. Victor Kord (American, born Romania, 1935\u2013). Tempera; image: 36.8 x 30.3 cm (14 1/2 x 11 15/16 in.). The Cleveland Museum of Art, Gift of the American Institute of Decorators, 1958.317", "current_location": null, "title": "Matador's Family", "creation_date": "1957", "creation_date_earliest": 1957, "creation_date_latest": 1957, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "tempera", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "measurements": "Image: 36.8 x 30.3 cm (14 1/2 x 11 15/16 in.)", "dimensions": {"image": {"height": 0.368, "height_inch": 14, "height_inch_fraction": 0.5, "width": 0.303, "width_inch": 11, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"Victor Kord '57\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301486, "title": "The May Show: 40th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 40th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 14-June 22, 1958).", "opening_date": "1958-05-14T04:00:00"}, {"id": 302279, "title": "Water Color", "description": "<i>Water Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 6-August 27, 1962).", "opening_date": "1962-06-06T04:00:00"}], "legacy": []}, "provenance": [{"description": "Victor Kord (the artist) [1935-], Cleveland, OH", "citations": [], "footnotes": null, "date": "1957\u201358", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 21, 1958", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80028436"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Fortieth May Show.\" <em>The Bulletin of the Cleveland Museum of Art</em> 45, no. 5 (1958)", "page_number": "", "url": "http://www.jstor.org/stable/25142274."}, {"citation": "Victor Kord Entry Card to 1958 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS11781/"}], "url": "https://clevelandart.org/art/1958.317", "images": {}, "alternate_images": [], "creditline": "Gift of the American Institute of Decorators", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135307, "creators": [{"id": 4299, "description": "Victor Kord (American, born Romania, 1935\u2013)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1935", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-06-21T00:00:00", "sortable_date": 1957, "date_added_to_oa": null, "date_text": "1957", "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": "2026-05-01 06:49:36.495000"}, {"id": 156898, "accession_number": "1993.100", "share_license_status": "Copyrighted", "tombstone": "Broughton Castle, Oxfordshire, England, 1977. Michael Kenna (British, b. 1953). Gelatin silver print, sepia toned; image: 15.2 x 24.2 cm (6 x 9 1/2 in.); matted: 45.7 x 55.9 cm (18 x 22 in.). The Cleveland Museum of Art, Gift of William A. Chilcote and Barbara S. Kaplan in honor of Evan H. Turner, 1993.100. \u00a9 Michael Kenna", "current_location": null, "title": "Broughton Castle, Oxfordshire, England", "creation_date": "1977", "creation_date_earliest": 1977, "creation_date_latest": 1977, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "gelatin silver print, sepia toned", "support_materials": [], "department": "Photography", "collection": "PH - British 20th Century", "type": "Photograph", "measurements": "Image: 15.2 x 24.2 cm (6 x 9 1/2 in.); Matted: 45.7 x 55.9 cm (18 x 22 in.)", "dimensions": {"image": {"height": 0.152, "height_inch": 6, "height_inch_fraction": 0.0, "width": 0.242, "width_inch": 9, "width_inch_fraction": 0.5}, "matted": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.559, "width_inch": 22, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Michael Kenna", "inscriptions": [{"inscription": "Written in pencil on recto: \"1977 Michael Kenna [signed]\"; in pencil on verso: \"BROUGHTON CASTLE-OXFORDSHIRE- / ENGLAND\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "\"1992 Annual Report,\" CMA Bulletin, 80 (July 1993), repr. p. 216.", "opening_date": "1993-07-01T00:00:00"}, {"description": "CMA, September 13 - November 27, 1994: \"Recent Acquisitions: Prints, Drawings, Photographs,\" no exhibition catalogue.", "opening_date": "1994-09-13T00:00:00"}]}, "provenance": [{"description": "(Halsted Gallery)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946992"], "internet_archive": []}, "citations": [{"citation": "\"1992 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 6 (1993): 215-95.", "page_number": "Reproduced: p. 216; Mentioned: p. 161", "url": "https://www.jstor.org/stable/25161418"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 207", "url": ""}], "url": "https://clevelandart.org/art/1993.100", "images": {}, "alternate_images": [], "creditline": "Gift of William A. Chilcote and Barbara S. Kaplan in honor of Evan H. Turner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156898, "creators": [{"id": 527, "description": "Michael Kenna (British, b. 1953)", "extent": null, "qualifier": null, "role": "artist", "biography": "Michael Kenna American, b. England, 1953- Mystery and a sense of Gothic romance inhabit the photographs of Michael Kenna. It is not insignificant that his first camera was a Diana box camera, given to him in 1966, because the inherent soft-focus of that simple apparatus characterizes his later medium- and large-format works. He is known primarily for his atmospheric landscapes and astute handling of light, line, texture, and form. Ruth Bernhard, whom Kenna met in 1978, and Ansel Adams, with whom he worked as a technical assistant (1982, 1983), influenced his sensibility. Born in Widnes, Kenna was educated at St. Joseph's College (1965-72), the Banbury School of Art (1972-73), and the London College of Printing (H.N.D. in photography, 1976). From 1973-77 he worked for magnum Photos in London and as assistant to Anthony Blake at cbs. In 1977 he moved to the United States, settling in San Francisco. Kenna has had well over 40 one-person and more than 80 group exhibitions since 1978 throughout the United States, Europe, and Japan. Among his awards are the Imogen Cunningham Award (1981), the Art in Public Buildings Award from the California Arts Commission (1987), and the Institute for Aesthetic Development Award, Pasadena (1989). Kenna's photographs have illustrated limited-edition printings of Sir Arthur Conan Doyle's classic tale The Hound of the Baskervilles (1985, 1986). Additional publications include Michael Kenna, Photographs (1984), Michael Kenna 1976-1986 (1987), Night Walk (1988), Le D\u00e9sert de Retz (1990), Michael Kenna: A Twenty Year Retrospective (1990), and The Elkhorn Slough and Moss Landing. Photographs by Michael Kenna (1991). Kenna lives in San Francisco. A.W.", "name_in_original_language": null, "birth_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-05-05T00:00:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977", "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": "2026-05-01 06:51:44.838000"}, {"id": 165673, "accession_number": "2007.78", "share_license_status": "Copyrighted", "tombstone": "As Seen through the Aquariums on the Quai de la M\u00e9gisserie , 1930. Dora Maar (French, 1907\u20131997). Gelatin silver print, ferrotyped; image: 20.3 x 18.3 cm (8 x 7 3/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.78. \u00a9 2013 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "As Seen through the Aquariums on the Quai de la M\u00e9gisserie ", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["female"], "culture": ["France, 20th century"], "technique": "gelatin silver print, ferrotyped", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 20.3 x 18.3 cm (8 x 7 3/16 in.)", "dimensions": {"image": {"height": 0.203, "height_inch": 8, "height_inch_fraction": 0.0, "width": 0.183, "width_inch": 7, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2013 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [], "exhibitions": {"current": [{"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}, {"id": 317519, "title": "Dora Maar", "description": "<i>Dora Maar</i>. Centre national d'art et de culture Georges Pompidou, Paris, France (organizer) (June 5-July 28, 2019); Tate Modern (November 19, 2019-March 15, 2020).", "opening_date": "2019-06-05T04:00:00"}], "legacy": []}, "provenance": [{"description": "The artist's estate, Paris", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(PIASA, Paris, Nov. 20, 1998, no. 181, sold to David Raymond)", "citations": [], "footnotes": null, "date": "November 20, 1998", "sortorder": 2}, {"description": "David Raymond [b.1979], New York, NY", "citations": [], "footnotes": null, "date": "1998-2007", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2007-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79995013"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "Reproduced: p. 117, no. 75; mentioned: pp. 222.", "url": null}, {"citation": "Ades, Dawn. \"Chance Encounters and the 'Modern Marvelous'.\" In Dora Maar, 77-98. Eds., Damarice Amao, Amanda Maddox, and Karolina Ziebinska-Lewandowska. Exh. Cat. Los Angeles: The J. Paul Getty Museum, 2019.", "page_number": "Reproduced: p. 84, Plate 90.", "url": ""}], "url": "https://clevelandart.org/art/2007.78", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165673, "creators": [{"id": 11223, "description": "Dora Maar (French, 1907\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1907", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "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": ["Row of Aquariums"], "is_highlight": false, "updated_at": "2026-05-01 06:52:48.016000"}, {"id": 109176, "accession_number": "1927.331", "share_license_status": "CC0", "tombstone": "Ancient Ruins: Ancient Aqueduct, 1756. Jean-Claude-Richard de Saint-Non (French, 1727\u20131791), after Jean Baptiste Le Prince (French, 1734\u20131781). Etching; platemark: 27.2 x 23.7 cm (10 11/16 x 9 5/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.331", "current_location": null, "title": "Ancient Ruins: Ancient Aqueduct", "creation_date": "1756", "creation_date_earliest": 1756, "creation_date_latest": 1756, "artists_tags": ["male"], "culture": ["France, 18th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 27.2 x 23.7 cm (10 11/16 x 9 5/16 in.)", "dimensions": {"platemark": {"height": 0.272, "height_inch": 10, "height_inch_fraction": 0.6875, "width": 0.237, "width_inch": 9, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Saint-Non became a priest in deference to his parents' wishes, but from 1752 his interest turned to art, and he began to etch in 1753. He went to Italy in the 1750s to study classical monuments, sculpture, and the landscape-a necessary trip for artistic training in the 18th century. This image of an ancient Roman aqueduct demonstrates the taste for representations of picturesque ruins. The grass-covered monument, centered in the decorative oval composition, is identified in a clever manner: \"Aquedott del Acqua Claudia\" is inscribed on the large piece of stonework discovered by the trio of soldiers at the lower right. ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309577, "title": "French Prints and Drawings in the Age of the Bourbons, 1589-1792", "description": "<i>French Prints and Drawings in the Age of the Bourbons, 1589-1792</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 2-May 16, 1982).", "opening_date": "1982-02-02T05:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art; 8/26/01-10/28/01.  \"Inventive Impressions:  18th- and 19th-Century French Prints\".", "opening_date": "2001-08-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001347"], "internet_archive": ["https://archive.org/details/clevelandart-1927.331-ancient-ruins-ancien"]}, "citations": [], "catalogue_raisonne": "Le Blanc vol. III.413.21", "url": "https://clevelandart.org/art/1927.331", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.331/1927.331_web.jpg", "width": "784", "height": "893", "filesize": "625998", "filename": "1927.331_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.331/1927.331_print.jpg", "width": "2984", "height": "3400", "filesize": "7938999", "filename": "1927.331_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.331/1927.331_full.tif", "width": "3306", "height": "3767", "filesize": "37395072", "filename": "1927.331_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109176, "creators": [{"id": 33796, "description": "Jean-Claude-Richard de Saint-Non (French, 1727\u20131791)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1727", "death_year": "1791", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 13595, "description": "Jean Baptiste Le Prince (French, 1734\u20131781)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1734", "death_year": "1781", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1756, "date_added_to_oa": null, "date_text": "1756", "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": "2026-05-01 06:47:24.206000"}, {"id": 112256, "accession_number": "1930.682", "share_license_status": "Copyrighted", "tombstone": "In a French Caf\u00e9, 1930. William S. Gisch (American, 1906\u20131989). Crayon. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1930.682", "current_location": null, "title": "In a French Caf\u00e9", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "crayon", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 344811, "title": "Print Club Publications: Past Fifteen Years", "description": "<i>Print Club Publications: Past Fifteen Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-March 20, 1938).", "opening_date": "1938-02-09T05:00:00"}, {"id": 301359, "title": "The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review", "description": "<i>The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review</i>. The Cleveland Museum of Art, Cleveland, OH (January 14-March 31, 1970).", "opening_date": "1970-01-14T05:00:00"}, {"id": 311649, "title": "The Print Club of Cleveland: Publication Prints 1924-1994", "description": "<i>The Print Club of Cleveland: Publication Prints 1924-1994</i>. 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Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. 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Millikin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135773, "creators": [{"id": 11671, "description": "Egon Schiele (Austrian, 1890\u20131918)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1890", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1959-12-19T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1959.304", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:49:39"}, {"id": 136576, "accession_number": "1961.139", "share_license_status": "CC0", "tombstone": "The Crayfish of Longchamps, 1822. Eug\u00e8ne Delacroix (French, 1798\u20131863). Lithograph; sheet: 26.4 x 35 cm (10 3/8 x 13 3/4 in.); image: 20.2 x 30.8 cm (7 15/16 x 12 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1961.139", "current_location": null, "title": "The Crayfish of Longchamps", "creation_date": "1822", "creation_date_earliest": 1822, "creation_date_latest": 1822, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "cream (3) laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 26.4 x 35 cm (10 3/8 x 13 3/4 in.); Image: 20.2 x 30.8 cm (7 15/16 x 12 1/8 in.)", "dimensions": {"sheet": {"height": 0.264, "height_inch": 10, "height_inch_fraction": 0.375, "width": 0.35, "width_inch": 13, "width_inch_fraction": 0.75}, "image": {"height": 0.202, "height_inch": 7, "height_inch_fraction": 0.9375, "width": 0.308, "width_inch": 12, "width_inch_fraction": 0.125}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower left, in plate: Litho de C. Motte, R. des marais; center margin, in plate: Les Ecrevisses \u00e0 Longchamps; lower right, in plate: Miroir (Journal)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304644, "title": "The Graphic Works of Delacroix", "description": "<i>The Graphic Works of Delacroix</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 18-November 3, 1963).", "opening_date": "1963-09-18T04:00:00"}, {"id": 351228, "title": "Mr. and Mrs. Charles G. Prasse Collection", "description": "<i>Mr. and Mrs. Charles G. Prasse Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 309649, "title": "Goya, Gericault and Delacroix", "description": "<i>Goya, Gericault and Delacroix</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-April 24, 1983).", "opening_date": "1983-01-25T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80030584"], "internet_archive": ["https://archive.org/details/clevelandart-1961.139-the-crayfish-of-long"]}, "citations": [], "catalogue_raisonne": "Delteil 37", "url": "https://clevelandart.org/art/1961.139", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.139/1961.139_web.jpg", "width": "1241", "height": "893", "filesize": "902537", "filename": "1961.139_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.139/1961.139_print.jpg", "width": "3400", "height": "2447", "filesize": "6151921", "filename": "1961.139_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.139/1961.139_full.tif", "width": "5536", "height": "3984", "filesize": "66199380", "filename": "1961.139_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136576, "creators": [{"id": 1658, "description": "Eug\u00e8ne Delacroix (French, 1798\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Delacroix studied under history painter Pierre-Narcisse Gu\u00e9rin (1774-1833) and at the \u00c9cole des Beaux-Arts, though he did not succeed in competitions there. He soon befriended romantic painter Th\u00e9odore G\u00e9ricault (1791-1824) and exhibited at his first Salon in 1822 his powerful, moody The Barque of Dante (Mus\u00e9e du Louvre, Paris). In the next Salon, inspired by the recent events in the Greeks' struggle for independence against the Turks, Delacroix showed Scenes from the Massacres at Chios (Mus\u00e9e du Louvre, Paris), a painting whose anti-academic composition, free brushwork, and brilliant color caused hostile critics to accuse the artist of the \"massacre of painting.\" Nevertheless, he was awarded a Salon medal and the state purchased the picture. \r\nAfter the early death of G\u00e9ricault, the young artist became the titular head of the French romantic artistic movement, as much for his innovative technique as his new themes. Widely read and an Anglophile, Delacroix drew frequently from British literature, especially Shakespeare, Byron, and Sir Walter Scott. He also developed a strong interest in orientalist subjects, spurred by the five-month trip to Morocco and southern Spain he took in 1832. He stressed the creative and imaginative elements of painting and opposed the academy for its rote learning and the bourgeoisie for its overly materialistic interests. Delacroix discussed his aesthetic ideas with an ever-expanding circle of writers, musicians, and artists that he frequented, including pianist-composer Fr\u00e9d\u00e9ric Chopin and writer George Sand. But ultimately he developed a personal conception of beauty that could only be expressed in an individualized manner. \r\nRecent studies have revised the long-standing interpretation of Delacroix as a radical, anticlassical, misunderstood, and unsupported genius. He greatly admired antiquity and the classical authors but insisted on avoiding the narrow or didactic view of them offered by the academies. He may not have emulated classical statuary as sources for his figures, but he did often represent heroic nude figures. For all his insistence on invention, Delacroix retained some sense of documentary reconstruction, for he made numerous studies of costumes and weapons and did other kinds of research before tackling certain subjects. From the beginning and throughout his career, Delacroix received many religious and historical painting commissions, from provincial churches to government buildings, under different rulers and even political systems. His allegorical work Liberty Leading the Barricades (1830-31, Mus\u00e9e du Louvre, Paris) represents the only painting in which the artist referred to a contemporary political event in France, the revolution that overthrew Louis XVIII and the Bourbon monarchy. This, too, was purchased by the state. In 1833 he was asked to decorate with allegories the Salon du Roi of the Palais Bourbon, the seat of the deputies. Their success brought him additional commissions in the same building, such as the library (1838), and then the library in the senate (1841-46), housed in the Palais du Luxembourg. His historical, religious, and allegorical paintings were often criticized by more conservative critics for a lack of decorum, anatomical distortions, too-bright or unnaturalistic color, and free brushwork, but he continued to find work because he was one of the few artists who continued to explore these \"elevated\" genres and had a sure sense of the decorative. \r\nExtremely prolific, Delacroix accomplished a major mural commission for the church of Saint-Sulpice in Paris (1850-63) the year before his death. He was even elected in 1857 to the Acad\u00e9mie des Beaux-Arts, but younger artists consistently regarded him as antiestablishment and a paragon of artistic experimentation. He wrote extensively on art and aesthetic issues, both in his private diaries and for published journals.1\r\n1. Recently, scholars such as Michele Hannoosh, Painting and the Journal of Eugene Delacroix (Princeton, 1995), have examined the content and style of Delacroix's texts for what they might tell about Delacroix the writer as well as the work and creative process of Delacroix the artist.\r\nDelacroix was one of the most innovative and successful painters of the first half of the 19th century. He is known as the last great history painter and his art is the ideal of Romanticism in the visual arts. Delacroix's career is marked by the paradox between the revolutionary and the conventional. He was in conflict with the artist Ingres and was seen as the leading figure of the French Romantic movement; he was famed for undermining the tradition of painting established by David, yet he benefited from official patronage from the beginning of the Restoration (1814-1830) until the Second Empire (1852-1870).", "name_in_original_language": null, "birth_year": "1798", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 66768, "description": "Charles Motte (French, 1785\u20131836)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1784", "death_year": "1836", "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1961-08-19T00:00:00", "sortable_date": 1822, "date_added_to_oa": null, "date_text": "1822", "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": "2026-05-01 06:49:42.810000"}, {"id": 138865, "accession_number": "1963.239", "share_license_status": "Copyrighted", "tombstone": "Dampfer auf der Elbe-Steamer on the Elbe, 1906. Karl Schmidt-Rottluff (German, 1884\u20131976). Lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1963.239. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Dampfer auf der Elbe-Steamer on the Elbe", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 304258, "title": "Year in Review (1963)", "description": "<i>Year in Review (1963)</i>. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (June 12-September 9, 1984).", "opening_date": "1984-06-12T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80035030"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Schapire 9", "url": "https://clevelandart.org/art/1963.239", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138865, "creators": [{"id": 3273, "description": "Karl Schmidt-Rottluff (German, 1884\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1884", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-05-11T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "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": "2026-05-01 06:49:57.758000"}, {"id": 144257, "accession_number": "1969.100", "share_license_status": "CC0", "tombstone": "Rest on the Flight into Egypt, 1589. Attributed to Jacob Matham (Dutch, 1571\u20131631), after Hendrick Goltzius (Dutch, 1558\u20131617). Engraving. The Cleveland Museum of Art, Bequest of Mrs. Madeleine Hamill in memory of Lawrence Hamill, 1969.100", "current_location": null, "title": "Rest on the Flight into Egypt", "creation_date": "1589", "creation_date_earliest": 1589, "creation_date_latest": 1589, "artists_tags": ["male"], "culture": ["Netherlands, 16th century"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 310008, "title": "Real Prints: Reproduction or Invention", "description": "<i>Real Prints: Reproduction or Invention</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-May 17, 1987).", "opening_date": "1987-04-07T04:00:00"}, {"id": 310281, "title": "Northern Landscape Traditions: 16th and 17th Century Prints and Drawings", "description": "<i>Northern Landscape Traditions: 16th and 17th Century Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10-December 31, 1989).", "opening_date": "1989-10-10T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921172"], "internet_archive": ["https://archive.org/details/clevelandart-1969.100-rest-on-the-flight-i"]}, "citations": [], "url": "https://clevelandart.org/art/1969.100", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.100/1969.100_web.jpg", "width": "680", "height": "893", "filesize": "530319", "filename": "1969.100_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.100/1969.100_print.jpg", "width": "2588", "height": "3400", "filesize": "7679421", "filename": "1969.100_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.100/1969.100_full.tif", "width": "3932", "height": "5165", "filesize": "60959772", "filename": "1969.100_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Mrs. Madeleine Hamill in memory of Lawrence Hamill", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144257, "creators": [{"id": 4718, "description": "Jacob Matham (Dutch, 1571\u20131631)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1571", "death_year": "1631", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68231, "description": "Hendrick Goltzius (Dutch, 1558\u20131617)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1558", "death_year": "1617", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1589, "date_added_to_oa": null, "date_text": "1589", "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": "2026-05-01 06:50:29.484000"}, {"id": 146377, "accession_number": "1972.116", "share_license_status": "CC0", "tombstone": "St. Jerome , 1631. Jan Lievens (Dutch, 1607\u20131674). Etching. The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1972.116", "current_location": null, "title": "St. Jerome ", "creation_date": "1631", "creation_date_earliest": 1631, "creation_date_latest": 1631, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": "I/V", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 309575, "title": "Seventeenth Century Netherlandish Graphics", "description": "<i>Seventeenth Century Netherlandish Graphics</i>. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-May 25, 1984).", "opening_date": "1984-01-24T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79924760"], "internet_archive": ["https://archive.org/details/clevelandart-1972.116-st-jerome"]}, "citations": [], "catalogue_raisonne": "Hollstein XI.13.15", "url": "https://clevelandart.org/art/1972.116", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.116/1972.116_web.jpg", "width": "761", "height": "900", "filesize": "", "filename": "1972.116_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.116/1972.116_print.jpg", "width": "2874", "height": "3400", "filesize": "", "filename": "1972.116_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.116/1972.116_full.tif", "width": "4408", "height": "5214", "filesize": "", "filename": "1972.116_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146377, "creators": [{"id": 13027, "description": "Jan Lievens (Dutch, 1607\u20131674)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1607", "death_year": "1674", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-07-31T00:00:00", "sortable_date": 1631, "date_added_to_oa": null, "date_text": "1631", "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": "2026-05-01 06:50:40.557000"}, {"id": 147984, "accession_number": "1974.8", "share_license_status": "CC0", "tombstone": "The Shepherd, 1644. Paulus Potter (Dutch, 1625\u20131654). Etching. The Cleveland Museum of Art, Gift of Mr. and Mrs. Lewis C. Williams for the Lewis B. Williams Collection, 1974.8", "current_location": null, "title": "The Shepherd", "creation_date": "1644", "creation_date_earliest": 1644, "creation_date_latest": 1644, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302084, "title": "Year in Review: 1974", "description": "<i>Year in Review: 1974</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 11-April 6, 1975).", "opening_date": "1975-03-11T04:00:00"}, {"id": 309575, "title": "Seventeenth Century Netherlandish Graphics", "description": "<i>Seventeenth Century Netherlandish Graphics</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-August 1, 1982).", "opening_date": "1982-04-27T04:00:00"}, {"id": 310281, "title": "Northern Landscape Traditions: 16th and 17th Century Prints and Drawings", "description": "<i>Northern Landscape Traditions: 16th and 17th Century Prints and Drawings</i>. 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Williams for the Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147984, "creators": [{"id": 22551, "description": "Paulus Potter (Dutch, 1625\u20131654)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1625", "death_year": "1654", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1974-01-02T00:00:00", "sortable_date": 1644, "date_added_to_oa": null, "date_text": "1644", "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": "2026-05-01 06:50:49.751000"}, {"id": 106439, "accession_number": "1924.511", "share_license_status": "CC0", "tombstone": "The Temptation of St. Anthony, 1509. 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The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1932.154", "current_location": null, "title": "Weed Pickers", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 382023, "title": "The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 5, 1932).", "opening_date": "1932-04-27T04:00:00"}, {"id": 356476, "title": "Prints by Cleveland Artists", "description": "<i>Prints by Cleveland Artists</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 10-October 9, 1935).", "opening_date": "1935-07-10T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005708"], "internet_archive": []}, "citations": [{"citation": "Sheffield Harold Kagy Entry Card to 1932 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS02530"}], "url": "https://clevelandart.org/art/1932.154", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 113136, "creators": [{"id": 32346, "description": "Sheffield Harold Kagy (American, 1907\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": "Active as a printmaker in Cleveland in the 1930s, Sheffield Kagy specialized in block prints of contemporary scenes. Born and raised in Cleveland, he studied with Henry Keller and Paul Travis at the Cleveland School of Art and with Ernest Fiene at the Corcoran School of Art in Washington, D.C. In 1932 Kagy opened the short-lived Sheffield Studio School of Art in Cleveland, which offered basic art instruction taught by a faculty that included Kalman Kubinyi. Kagy was one of only two Cleveland artists to make prints for the Public Works of Art Project in 1934. He made several linoleum cuts and at least one lithograph for the Cleveland graphic arts project of the Works Progress Administration in 1936. Kagy was a vice president of the Cleveland Print Makers and showed his work in many local exhibitions including several May Shows (1931-41). He participated in annual print exhibitions in Chicago, Cleveland, and Dayton, and his work also appeared in New York City, Washington, D.C., and Venice, Italy. Kagy moved to Washington in 1936 and taught fine arts and printmaking at the Abbott Art School. He worked for the Treasury Department, 1937-40, and painted murals for post offices in Walterboro, South Carolina, and Luray, Virginia. Modeled on the Cleveland Print Makers, Kagy organized the Washington Print Maker's Club in 1940, whose members included Herman Maril and Prentiss Taylor. Kagy was head of the art department at Chevy Chase Junior College in Maryland, 1940-43, then served in the navy as a camouflage designer for the Bureau of Ships until 1945. After the war he became a professor of fine arts at the National Art School, a post he held until 1956. He was an exhibition officer and designer for the State Department, 1959-73. Kagy died in Washington. Bill Robinson, David Steinberg, \"Transformations in Cleveland Art, 1796-1945\" (CMA, 1996), p. 231.", "name_in_original_language": null, "birth_year": "1907", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1932-05-24T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "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": "2026-05-01 06:47:39.853000"}, {"id": 114865, "accession_number": "1934.58", "share_license_status": "Copyrighted", "tombstone": "Taormina Landscape, No. 1, 1934. Jack J. Greitzer (American, 1910\u20131989). Oil on canvas; unframed: 41.3 x 51.2 cm (16 1/4 x 20 3/16 in.). 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Greitzer - 1934.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382025, "title": "The May Show: 16th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 16th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 25-June 3, 1934).", "opening_date": "1934-04-25T05:00:00"}, {"id": 312185, "title": "Retrospective Twenty-fifth Anniversary May Show", "description": "<i>Retrospective Twenty-fifth Anniversary May Show</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 13-February 14, 1943).", "opening_date": "1943-01-13T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1521.34"], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60513937"], "internet_archive": []}, "citations": [{"citation": "Jack J. Greitzer Entry Card to 1934 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS03242"}], "url": "https://clevelandart.org/art/1934.58", "images": {}, "alternate_images": [], "creditline": "Cleveland Traveling Exhibitions Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114865, "creators": [{"id": 4427, "description": "Jack J. Greitzer (American, 1910\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1910", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1934-04-24T00:00:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "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": "2026-05-01 06:47:47.454000"}, {"id": 114960, "accession_number": "1935.133", "share_license_status": "Copyrighted", "tombstone": "Two White Trees, 1933. Walter Leroy Flint (American, 1909\u20131991). Process cut. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1935.133", "current_location": null, "title": "Two White Trees", "creation_date": "1933", "creation_date_earliest": 1933, "creation_date_latest": 1933, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "process cut", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 382026, "title": "The May Show: 17th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 17th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art (organizer) (April 24-June 2, 1935).", "opening_date": "1935-04-24T05:00:00"}, {"id": 356130, "title": "Prints Accessioned in 1935", "description": "<i>Prints Accessioned in 1935</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 14-November 8, 1936).", "opening_date": "1936-10-14T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80007883"], "internet_archive": []}, "citations": [{"citation": "Walter Leroy Flint Entry Card to 1935 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS03589/"}], "url": "https://clevelandart.org/art/1935.133", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114960, "creators": [{"id": 8782, "description": "Walter Leroy Flint (American, 1909\u20131991)", "extent": null, "qualifier": null, "role": "artist", "biography": "Although best known for his post-1945 modernist paintings, Leroy Flint humorous and satirical prints of everyday life made during the Depression rank among his finest work. He was born and raised in Ashtabula, Ohio. Paying for his education through scholarships and odd jobs, he attended the Cleveland School of Art, 1932\u201336. After graduation, he worked for the Works Progress Administration on the graphic arts, mural, and adult education projects. On the graphic arts project Flint made a series of lithographs sketched while he was on a year-long shanty boat trip down the Ohio River. He lost his WPA salary, however, when he continued his trip outside the state of Ohio. Returning to Cleveland, he made murals for the Valleyview housing project, the community building of the Woodhill Homes housing project, and the Oxford School, all dated 1940. While on the WPA he was a member and executive secretary of the Cleveland Artist\u2019s Union and a member of the American Artists\u2019 Congress. During World War II, Flint was a senior instructor in the map reproduction department of the Army Corps of Engineering specialty school in Fort Belvoir, Virginia. He was the director of public information for the Cleveland City Planning Commission, 1946\u201349, quitting to teach at the Cleveland Museum of Art and pursue graduate studies at Western Reserve College. In the 1950s he became an advocate of abstract art and began working at the Akron Art Institute, where he held the positions of instructor, curator of education, and director. He left the Akron Art Institute in 1965 to become professor of art at Kent State University, where he also worked as director of the University Galleries. Flint lived in Cuyahoga Falls until his death. <br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 228", "name_in_original_language": null, "birth_year": "1909", "death_year": "1991", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1935-06-24T00:00:00", "sortable_date": 1933, "date_added_to_oa": null, "date_text": "1933", "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": "2026-05-01 06:47:47.917000"}, {"id": 115658, "accession_number": "1936.374", "share_license_status": "Copyrighted", "tombstone": "White Bowl with Green Lining, 1935. Carol Hagaman Miller (American, 1914\u20132013). Ceramic; diameter: 18.6 cm (7 5/16 in.); overall: 8.6 cm (3 3/8 in.). The Cleveland Museum of Art, The Mary Spedding Milliken Memorial Collection, Gift of William Mathewson Milliken, 1936.374", "current_location": null, "title": "White Bowl with Green Lining", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "ceramic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Diameter: 18.6 cm (7 5/16 in.); Overall: 8.6 cm (3 3/8 in.)", "dimensions": {"diameter": {"width": 0.186, "width_inch": 7, "width_inch_fraction": 0.3125}, "overall": {"height": 0.086, "height_inch": 3, "height_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on bottom, within circles: \"Hagaman, 35.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382027, "title": "The May Show: 18th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 18th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Carol Hagaman Miller (American, 1914\u20132013). Ceramic; diameter of mouth: 8.3 cm (3 1/4 in.); overall: 15.6 cm (6 1/8 in.); diameter of base: 6.4 cm (2 1/2 in.). The Cleveland Museum of Art, The Mary Spedding Milliken Memorial Collection, Gift of William Mathewson Milliken, 1937.28", "current_location": null, "title": "Brown Cylindrical Vase", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "ceramic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Diameter of mouth: 8.3 cm (3 1/4 in.); Overall: 15.6 cm (6 1/8 in.); Diameter of base: 6.4 cm (2 1/2 in.)", "dimensions": {"diameter of mouth": {"width": 0.083, "width_inch": 3, "width_inch_fraction": 0.25}, "overall": {"height": 0.156, "height_inch": 6, "height_inch_fraction": 0.125}, "diameter of base": {"width": 0.064, "width_inch": 2, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on bottom: \"C. Hagaman.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382028, "title": "The May Show: 19th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 19th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 19, 1937).", "opening_date": "1937-05-05T04:00:00"}], "legacy": [{"description": "Purchased from the May Show 1937.", "opening_date": "1937-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010994"], "internet_archive": []}, "citations": [{"citation": "Carol Hagaman Miller Entry Card to 1937 May Show. 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Alice Lauffer Lawrence (American, 1916\u20132008). Pencil and brown crayon. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1938.280", "current_location": null, "title": "Figure Study", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["female", "Cleveland Institute of Art (alumni)", "May Show"], "culture": ["America, Ohio, Cleveland"], "technique": "pencil and brown crayon", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 382029, "title": "The May Show: 20th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 20th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Steve Novak (American, b. 1930). Screen printed rayon; average: 276.8 x 114.6 cm (109 x 45 1/8 in.). The Cleveland Museum of Art, Silver Jubilee Treasure Fund, 1954.286", "current_location": null, "title": "Gazelles", "creation_date": "1954", "creation_date_earliest": 1954, "creation_date_latest": 1954, "artists_tags": ["May Show", "male"], "culture": ["America"], "technique": "screen printed rayon", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Average: 276.8 x 114.6 cm (109 x 45 1/8 in.)", "dimensions": {"average": {"height": 2.768, "height_inch": 109, "height_inch_fraction": 0.0, "width": 1.146, "width_inch": 45, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383021, "title": "The May Show: 36th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 36th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Mel Someroski (American, 1932\u20131995). Stoneware; overall: 14.3 x 22.7 cm (5 5/8 x 8 15/16 in.). The Cleveland Museum of Art, Silver Jubilee Treasure Fund, 1955.233", "current_location": null, "title": "Bowl", "creation_date": "1954", "creation_date_earliest": 1954, "creation_date_latest": 1954, "artists_tags": ["LGBTQ+ (after 1900)", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "stoneware", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 14.3 x 22.7 cm (5 5/8 x 8 15/16 in.)", "dimensions": {"overall": {"height": 0.143, "height_inch": 5, "height_inch_fraction": 0.625, "width": 0.227, "width_inch": 8, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383022, "title": "The May Show: 37th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 37th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Henry E. Roth (American, b. 1933). Oil on canvas; unframed: 70.6 x 121.9 cm (27 13/16 x 48 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1957.184", "current_location": null, "title": "House Pets", "creation_date": "1957", "creation_date_earliest": 1957, "creation_date_latest": 1957, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 70.6 x 121.9 cm (27 13/16 x 48 in.)", "dimensions": {"unframed": {"height": 0.706, "height_inch": 27, "height_inch_fraction": 0.8125, "width": 1.219, "width_inch": 48, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301182, "title": "The May Show: 39th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 39th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 134660, "creators": [{"id": 4489, "description": "Henry E. Roth (American, b. 1933)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1933", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1957-05-09T00:00:00", "sortable_date": 1957, "date_added_to_oa": null, "date_text": "1957", "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": "2026-05-01 06:49:32.411000"}, {"id": 135309, "accession_number": "1958.319", "share_license_status": "Copyrighted", "tombstone": "Convocation, San Marco, 1957. Jack Johnson (American, 1933\u20131957). Oil on canvas; unframed: 65.3 x 90.4 cm (25 11/16 x 35 9/16 in.). The Cleveland Museum of Art, Gift of the Womens Council of the Cleveland Museum of Art in honor of William Mathewson Milliken, 1958.319", "current_location": null, "title": "Convocation, San Marco", "creation_date": "1957", "creation_date_earliest": 1957, "creation_date_latest": 1957, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 65.3 x 90.4 cm (25 11/16 x 35 9/16 in.)", "dimensions": {"unframed": {"height": 0.653, "height_inch": 25, "height_inch_fraction": 0.6875, "width": 0.904, "width_inch": 35, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  Johnson '57.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301486, "title": "The May Show: 40th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 40th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Victor Kord (American, born Romania, 1935\u2013). Oil on canvas; unframed: 76 x 114.5 cm (29 15/16 x 45 1/16 in.). The Cleveland Museum of Art, Wishing Well Fund, 1959.145", "current_location": null, "title": "Landscape, No. 2", "creation_date": "1959", "creation_date_earliest": 1959, "creation_date_latest": 1959, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 76 x 114.5 cm (29 15/16 x 45 1/16 in.)", "dimensions": {"unframed": {"height": 0.76, "height_inch": 29, "height_inch_fraction": 0.9375, "width": 1.145, "width_inch": 45, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Victor Kord 59.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301666, "title": "The May Show: 41st Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 41st Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS12084"}], "url": "https://clevelandart.org/art/1959.145", "images": {}, "alternate_images": [], "creditline": "Wishing Well Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135609, "creators": [{"id": 4299, "description": "Victor Kord (American, born Romania, 1935\u2013)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1935", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1959-04-25T00:00:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959", "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": "2026-05-01 06:49:38.183000"}, {"id": 135693, "accession_number": "1959.23", "share_license_status": "CC0", "tombstone": "Voyages pittoresques et romantiques dans l'ancienne France,  Normandie:  Tour du Gros-Horloge, Evreux, 1824. Richard Parkes Bonington (British, 1802\u20131828). Lithograph. The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1959.23", "current_location": null, "title": "Voyages pittoresques et romantiques dans l'ancienne France,  Normandie:  Tour du Gros-Horloge, Evreux", "creation_date": "1824", "creation_date_earliest": 1824, "creation_date_latest": 1824, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309853, "title": "Two Hundred Years of British Prints", "description": "<i>Two Hundred Years of British Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 9, 1984-February 3, 1985).", "opening_date": "1984-10-09T04:00:00"}, {"id": 310295, "title": "The Birth and Flowering of British Romantic Art", "description": "<i>The Birth and Flowering of British Romantic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-July 22, 1990).", "opening_date": "1990-05-01T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [{"id": 166450, "description": "Voyages Pittoresques et Romantique dans l'Ancienne France, Normandie: Tour du Gros-Horlage, \u00c9vreux, 1824. Godefroy Engelmann (French, 1788\u20131839), after Richard Parkes Bonington (British, 1802\u20131828). Lithograph tipped in to mount; sheet: 50.8 x 34.5 cm (20 x 13 9/16 in.); image: 33.6 x 21 cm (13 1/4 x 8 1/4 in.). The Cleveland Museum of Art, Gift of John Bonebrake, 2008.205", "relationship": null}], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80029197"], "internet_archive": ["https://archive.org/details/clevelandart-1959.23-voyages-pittoresques"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949.", "page_number": "Mentioned: p. 20", "url": "https://archive.org/details/Lithography/page/n27"}], "catalogue_raisonne": "Curtis 19", "url": "https://clevelandart.org/art/1959.23", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1959.23/1959.23_web.jpg", "width": "588", "height": "893", "filesize": "397983", "filename": "1959.23_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1959.23/1959.23_print.jpg", "width": "2237", "height": "3400", "filesize": "6825480", "filename": "1959.23_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1959.23/1959.23_full.tif", "width": "4116", "height": "6255", "filesize": "77270396", "filename": "1959.23_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135693, "creators": [{"id": 2475, "description": "Richard Parkes Bonington (British, 1802\u20131828)", "extent": null, "qualifier": null, "role": "artist", "biography": "Richard Parkes Bonington was born in Arnold near Nottingham, the son of a portrait painter of indifferent talent and quixotic temperament. In autumn 1817 the family established a lace manufactur-ing business in Calais, where Bonington studied watercolor painting briefly with the Anglo-French artist Louis Francia (1772-1839). Two years later he enrolled in the atelier of Gros (q.v.) but was an irregular student. His disillusionment with Gros lead to a stormy departure in 1822. In the same year he exhibited at the Paris Salon topographical watercolors from the first of his several tours of Normandy. These established his repu-tation as a landscape painter and drafts-man of medieval architecture. However, the group of five marine paintings submitted to the 1824 Salon, for which he was awarded a gold medal, confirmed his preeminence in the French romantic school. Bonington made the first of sev-eral trips to London in 1825, after which he shared a studio with Eug\u00e8ne Delacroix (q.v.) in Paris until his departure for a brief tour of Northern Italy in April 1826. It was Delacroix who persuaded Bonington to expand his interests beyond landscape to include figural subjects. In the final two hectic years of his life, Bonington produced mostly Venetian views and historical and literary illustra-tions, which he exhibited at both the 1827-28 Paris Salon and the 1828 Royal Academy exhibitions. He died in London from tuberculosis in September 1828. Despite the brevity of his career, Bonington's protean originality and dazzling virtuoso style inspired a host of French and British imitators, while his relationships with Delacroix and the landscape painters Eug\u00e8ne Isabey (1803-1886) and Paul Huet (1803-1869) would be of cardinal importance to the subsequent development of French painting.", "name_in_original_language": null, "birth_year": "1802", "death_year": "1828", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1959-02-21T00:00:00", "sortable_date": 1824, "date_added_to_oa": null, "date_text": "1824", "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": "2026-05-01 06:49:38.658000"}, {"id": 141835, "accession_number": "1965.39", "share_license_status": "Copyrighted", "tombstone": "Something I Should Have Known, #29, 1965. Bonnie Bell Dumlao (American, 1941\u20132023). Printed cotton; overall: 281.9 x 90.8 cm (111 x 35 3/4 in.). The Cleveland Museum of Art, Wishing Well Fund, 1965.39", "current_location": null, "title": "Something I Should Have Known, #29", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "printed cotton", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 281.9 x 90.8 cm (111 x 35 3/4 in.)", "dimensions": {"overall": {"height": 2.819, "height_inch": 111, "height_inch_fraction": 0.0, "width": 0.908, "width_inch": 35, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383229, "title": "The May Show: 47th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve", "description": "<i>The May Show: 47th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 13, 1965).", "opening_date": "1965-05-05T04:00:00"}, {"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80041476"], "internet_archive": []}, "citations": [{"citation": "Bonnie Bell Dumlao Entry Card to 1965 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS13517"}], "url": "https://clevelandart.org/art/1965.39", "images": {}, "alternate_images": [], "creditline": "Wishing Well Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141835, "creators": [{"id": 32637, "description": "Bonnie Bell Dumlao (American, 1941\u20132023)", "extent": null, "qualifier": null, "role": "designed and made by", "biography": null, "name_in_original_language": null, "birth_year": "1941", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-05-15T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "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": "2026-05-01 06:50:18.335000"}, {"id": 152374, "accession_number": "1985.218", "share_license_status": "Copyrighted", "tombstone": "Andalusia, Spain, 1932. Henri Cartier-Bresson (French, 1908\u20132004). Gelatin silver print; image: 19.6 x 29.6 cm (7 11/16 x 11 5/8 in.); matted: 35.6 x 45.7 cm (14 x 18 in.). The Cleveland Museum of Art, Gift of Dr. and Mrs. George Violin, 1985.218. \u00a9 Henri Cartier-Bresson", "current_location": null, "title": "Andalusia, Spain", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 19.6 x 29.6 cm (7 11/16 x 11 5/8 in.); Matted: 35.6 x 45.7 cm (14 x 18 in.)", "dimensions": {"image": {"height": 0.196, "height_inch": 7, "height_inch_fraction": 0.6875, "width": 0.296, "width_inch": 11, "width_inch_fraction": 0.625}, "matted": {"height": 0.356, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Henri Cartier-Bresson", "inscriptions": [{"inscription": "Written in pencil on verso: \"S.11\"; \"Henri Cartier-Bresson [signed] / Seville / Andalusia, Spain, 1932\"; \"Inv #7864/URX 1\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "CMA, February 12 - April 20, 1986: \"Year in Review 1985,\" CMA Bulletin, 73 (February 1986), p. 65, no. 83.", "opening_date": "1986-02-12T00:00:00"}, {"description": "CMA, July 10 - August 19, 1990: \"The Camera,\" Classroom Level, no exhibition catalogue.", "opening_date": "1990-07-10T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79936860"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 121", "url": ""}], "url": "https://clevelandart.org/art/1985.218", "images": {}, "alternate_images": [], "creditline": "Gift of Dr. and Mrs. George Violin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152374, "creators": [{"id": 77, "description": "Henri Cartier-Bresson (French, 1908\u20132004)", "extent": null, "qualifier": null, "role": "artist", "biography": "Henri Cartier-Bresson French, 1908-2004\r\n\r\nHenri Cartier-Bresson (born in Chanteloup) has achieved fame for his work as a pioneering photojournalist and for his ability to capture the \"decisive moment\" in candid images of people and events around the world. After studying painting in the 1920s (including one year with cubist Andr\u00e9 Lhote), Cartier-Bresson became interested in photography while recuperating from illness in 1930-31. Working first with a box camera and then with a 35mm Leica camera, he began to take pictures for magazines and newspapers. In the early 1930s his photographs were featured in exhibitions at the Julian Levy Gallery in New York and the Club Atheneo in Madrid. During this period he traveled and photographed in France, Italy, Spain, Morocco, and Mexico.\r\n\tIn 1935 Cartier-Bresson studied cinematography with Paul Strand in New York City, returning to France the following year to work as an assistant on Jean Renoir's films La vie est \u00e0 nous and Une partie de campagne. In 1937, during the Spanish Civil War, Cartier-Bresson made Victorie de la vie, a film documenting conditions in Spanish hospitals. Three years later, while serving in the French army during World War II, he was captured by the Germans. He escaped from prison in 1943 and joined the French resistance. Following the war his work was featured in a major one-artist exhibition at the Museum of Modern Art, New York (1946), and in 1947 he joined Ropert Capa, George Rodger, and David Seymour in founding magnum Photos, the well-known cooperative agency for photojournalism.\r\n\tOver the next two decades Cartier-Bresson traveled the world as a freelance photojournalist. His work appeared in a number of exhibitions during this time (Mus\u00e9e des Arts D\u00e9coratifs, Paris, International Center of Photography, New York, and others) as well as in numerous magazine articles and more than a dozen books, including Images \u00e0 la sauvette (The Decisive Moment, 1952), D'une Chine \u00e0 l'autre (1954; From One China to Another, U.S. publication, 1956), Les Europ\u00e9ens (The Europeans, 1955), Mouscou, vu par Henri Cartier-Bresson (People of Moscow, 1955), and the Face of Asia (1972). In 1966 Cartier-Bresson left magnum, retiring from photojournalism to concentrate on his drawing. M.M.", "name_in_original_language": null, "birth_year": "1908", "death_year": "2004", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-04-02T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "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": "2026-05-01 06:51:16.386000"}, {"id": 153711, "accession_number": "1987.222", "share_license_status": "Copyrighted", "tombstone": "Peru, 1948. Robert Frank (American, 1924\u20132019). Gelatin silver print; image: 24.6 x 34.2 cm (9 11/16 x 13 7/16 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, John L. Severance Fund, 1987.222. \u00a9 1978 Robert Frank", "current_location": null, "title": "Peru", "creation_date": "1948", "creation_date_earliest": 1948, "creation_date_latest": 1948, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 24.6 x 34.2 cm (9 11/16 x 13 7/16 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.246, "height_inch": 9, "height_inch_fraction": 0.6875, "width": 0.342, "width_inch": 13, "width_inch_fraction": 0.4375}, "matted": {"height": 0.406, "height_inch": 16, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 1978 Robert Frank", "inscriptions": [{"inscription": "Written in black ink on verso: \"Peru 1948 / R Frank [signed]\"; in pencil: \"345\"; \"1000\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310231, "title": "The Year in Review for 1987", "description": "<i>The Year in Review for 1987</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988).", "opening_date": "1988-02-24T05:00:00"}], "legacy": [{"description": "CMA, February 24 - April 17, 1988: \"Year in Review 1987,\" CMA Bulletin, 75 (February 1988), p. 66, no. 58.", "opening_date": "1988-02-24T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939850"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 170", "url": ""}], "url": "https://clevelandart.org/art/1987.222", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153711, "creators": [{"id": 400, "description": "Robert Frank (American, 1924\u20132019)", "extent": null, "qualifier": null, "role": "artist", "biography": "Robert Frank American, b. Switzerland, 1924-2019. Robert Louis Frank achieved fame for his controversial book, The Americans, which presented in a series of candid black-and-white photographs his observations of American life in the late 1950s. Born in Zurich, Frank began his photographic career as an apprentice with Hermann Eidenbenz in Basel (1940-41) and Michael Wolgensinger in Zurich (1942). After serving in the military in 1944, he worked for Gloria Films in Zurich as a still photographer and in 1946 moved to Paris to establish himself in commercial work. The following year he immigrated to New York City, where he met and was hired by Alexey Brodovitch, art director for Harper's Bazaar. Frank photographed for Brodovitch until 1951, when he began to work as a freelance photojournalist, taking assignments from magazines such as Life, McCall's, and Fortune. He also began exhibiting his pictures in group shows at the Museum of Modern Art, New York. In 1955 and 1956 Frank received back-to-back fellowships from the John Simon Guggenheim Memorial Foundation, which allowed him to travel across America taking photographs. Eighty-three of the images from his road trip appeared in The Americans. On his journey Frank took a subjective documentary approach to record commonplace aspects of American culture: lunch counters, drive-in movies, factories, parades, rodeos, parties. He also captured evidence of poverty, racism, and alienation, challenging the popular perception of a prosperous, harmonious postwar America. The book was first published in France as Les Am\u00e9ricains (1958) and the following year appeared in the United States, with an introduction by Beat poet and writer Jack Kerouac. Frank then turned to filmmaking, collaborating with Kerouac and painter Alfred Leslie on Pull My Daisy (1959). The Sin of Jesus (1961), O.K. End Here (1963), Me and My Brother (1968), and Life-Raft Earth (1969) followed. Since 1969 Frank has lived in Cape Breton, Nova Scotia, producing photographs and film with a personal, autobiographical approach. His images have been included in many shows, including a recent one-artist traveling exhibition organized by the National Gallery of Art, Washington, D.C. (1994). M.M.", "name_in_original_language": null, "birth_year": "1924", "death_year": "2019", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1988-02-18T00:00:00", "sortable_date": 1948, "date_added_to_oa": null, "date_text": "1948", "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": "2026-05-01 06:51:24.380000"}, {"id": 154821, "accession_number": "1989.401", "share_license_status": "Copyrighted", "tombstone": "Chester, Nova Scotia, 1910. Karl F. Struss (American, 1886\u20131981). Platinum print; image: 10.9 x 9.3 cm (4 5/16 x 3 11/16 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, The Daniel Sherby Memorial Collection, Gift of Clementine F. Sherby and Robert Hayes Gries, 1989.401", "current_location": null, "title": "Chester, Nova Scotia", "creation_date": "1910", "creation_date_earliest": 1910, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["America"], "technique": "platinum print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 10.9 x 9.3 cm (4 5/16 x 3 11/16 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)", "dimensions": {"image": {"height": 0.109, "height_inch": 4, "height_inch_fraction": 0.3125, "width": 0.093, "width_inch": 3, "width_inch_fraction": 0.6875}, "matted": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on recto of small mount: \"1910  3 [circled]\";  in pencil on recto of large mount: \"Karl Struss 1887 / Chester, Nova Scotia 1910 / AK 85 S. Z08\"; in pencil on verso: \"Chester, Nova Scotia / 1910\" \"SZ08-AK.85 / 175\"; \"#1062\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310333, "title": "The Year in Review for 1989", "description": "<i>The Year in Review for 1989</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-April 15, 1990).", "opening_date": "1990-02-06T05:00:00"}], "legacy": [{"description": "CMA, Feb. 6 - April 15, 1990: \"Year in Review 1989,\" CMA Bulletin, 77 (Feb. 1990), p. 69, no. 61.", "opening_date": "1990-02-06T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79942455"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 347", "url": ""}], "url": "https://clevelandart.org/art/1989.401", "images": {}, "alternate_images": [], "creditline": "The Daniel Sherby Memorial Collection, Gift of Clementine F. Sherby and Robert Hayes Gries", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154821, "creators": [{"id": 970, "description": "Karl F. Struss (American, 1886\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karl F. Struss American, 1886-1981\r\n\r\nBorn and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar.\r\n\tA student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915.\r\n\tShortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910", "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": "2026-05-01 06:51:31.281000"}, {"id": 130220, "accession_number": "1952.589", "share_license_status": "CC0", "tombstone": "Rocks, Orchid, and Bamboo (\u862d\u77f3\u7af9\u5716), 1662. Shitao (Chinese, 1642\u20131707). Handscroll; ink on paper; overall: 31.8 x 266.7 cm (12 1/2 x 105 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1952.589", "current_location": null, "title": "Rocks, Orchid, and Bamboo", "title_in_original_language": "\u862d\u77f3\u7af9\u5716", "creation_date": "1662", "creation_date_earliest": 1662, "creation_date_latest": 1662, "artists_tags": ["male"], "culture": ["China, Qing dynasty (1644-1911)"], "technique": "handscroll; ink on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Handscroll", "type": "Painting", "measurements": "Overall: 31.8 x 266.7 cm (12 1/2 x 105 in.)", "dimensions": {"overall": {"height": 0.318, "height_inch": 12, "height_inch_fraction": 0.5, "width": 2.667, "width_inch": 105, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Title colophon in four characters with signature and two seals on gold-flecked paper.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "Artist's signature, inscription (with date of 1662), five seals", "inscription_translation": null, "inscription_remark": null, "sortorder": 2}, {"inscription": "Colophon with two seals.", "inscription_translation": null, "inscription_remark": null, "sortorder": 3}], "exhibitions": {"current": [{"id": 300432, "title": "Meaning of Nature in Chinese Art", "description": "<i>Meaning of Nature in Chinese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 9-June 1, 1954).", "opening_date": "1954-04-09T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Howard Hollis and Co., Cleveland, OH, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131952", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1952\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516210"], "internet_archive": ["https://archive.org/details/clevelandart-1952.589-rocks-orchid-and-bam"]}, "citations": [{"citation": "Lee, Sherman. \"'Rocks, Orchids, and Bamboo' by Shih-T'ao.\" <em>The Bulletin of the Cleveland Museum of Art </em>41, no. 1 (January 1954): 8, 13\u201314.", "page_number": "Mentioned: p. 8; Reproduced: pp. 10\u201311", "url": "https://www.jstor.org/stable/25141928"}, {"citation": "Fong, Wen, and Shih-t'ao. \u201cA Letter from Shih-T'ao to Pa-Ta-Shan-J\u00ean and the Problem of Shih-T'ao's Chronology.\u201d <em>Archives of the Chinese Art Society of America</em>, vol. 13, 1959, pp. 22\u201353.", "page_number": "Mentioned and Reproduced: pp. 34-35, fig. 5", "url": "https://www-jstor-org.ingallslibrary.idm.oclc.org/stable/20067015"}, {"citation": "Chou, Ju-hsi and Anita Chung. <em>Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art</em>. 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The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79931238"], "internet_archive": ["https://archive.org/details/clevelandart-1979.61-the-wine-glass"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Reproduced: cat. no. 106, p. 75", "url": "https://www.jstor.org/stable/25159667"}], "catalogue_raisonne": "Kennedy 27", "url": "https://clevelandart.org/art/1979.61", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.61/1979.61_web.jpg", "width": "610", "height": "893", "filesize": "432395", "filename": "1979.61_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.61/1979.61_print.jpg", "width": "2258", "height": "3307", "filesize": "4651486", "filename": "1979.61_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.61/1979.61_full.tif", "width": "2258", "height": "3307", "filesize": "22423548", "filename": "1979.61_full.tif"}}, "alternate_images": [], "creditline": "Gift of Florence Keppel Prentiss for the Frederick Paul Keppel Jr. Memorial", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149670, "creators": [{"id": 3330, "description": "James McNeill Whistler (American, 1834\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1834", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1858, "date_added_to_oa": null, "date_text": "1858", "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": "2026-05-01 06:51:00.007000"}, {"id": 150741, "accession_number": "1982.160", "share_license_status": "Copyrighted", "tombstone": "Self-Portrait with Glasses, 1913. 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Hugh M. Kepets (American, b. 1946). Oil on canvas; unframed: 92.1 x 61.5 cm (36 1/4 x 24 3/16 in.). The Cleveland Museum of Art, Gift of Dorothy and Samuel S. Kates, 1982.344. \u00a9 Hugh Kepets/Licensed by VAGA, New York, NY", "current_location": null, "title": "Still Life with Figure", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["Jewish artists", "May Show", "male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 92.1 x 61.5 cm (36 1/4 x 24 3/16 in.)", "dimensions": {"unframed": {"height": 0.921, "height_inch": 36, "height_inch_fraction": 0.25, "width": 0.615, "width_inch": 24, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Hugh Kepets/Licensed by VAGA, New York, NY", "inscriptions": [], "exhibitions": {"current": [{"id": 383230, "title": "The May Show: 48th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve", "description": "<i>The May Show: 48th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve</i>. 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Kepets (American, b. 1946)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-03-07T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "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": "2026-05-01 06:51:07.986000"}, {"id": 151893, "accession_number": "1984.185", "share_license_status": "CC0", "tombstone": "Vase, 1888. Rookwood Pottery Company (American, established 1880), Artus Van Briggle (American, 1869\u20131904). Stoneware; diameter: 17.2 cm (6 3/4 in.); overall: 15.9 cm (6 1/4 in.). The Cleveland Museum of Art, In memory of Hattie M. Horvitz from her sons Harry, Leonard, and Bill, 1984.185", "current_location": null, "title": "Vase", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male", "gender unknown"], "culture": ["America"], "technique": "stoneware", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Diameter: 17.2 cm (6 3/4 in.); Overall: 15.9 cm (6 1/4 in.)", "dimensions": {"diameter": {"width": 0.172, "width_inch": 6, "width_inch_fraction": 0.75}, "overall": {"height": 0.159, "height_inch": 6, "height_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).", "opening_date": "1985-04-03T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79935721"], "internet_archive": ["https://archive.org/details/clevelandart-1984.185-vase"]}, "citations": [{"citation": "Hawley, Henry. \u201cTwo Rookwood Vases.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 7 (November 1985): 378\u2013387.", "page_number": "Mentioned and reproduced: p. 378-383, figs. 1, 3, 5, and 8", "url": "http://www.jstor.org/stable/25159919"}], "url": "https://clevelandart.org/art/1984.185", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1984.185/1984.185_web.jpg", "width": "1096", "height": "893", "filesize": "535794", "filename": "1984.185_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1984.185/1984.185_print.jpg", "width": "3400", "height": "2769", "filesize": "4473716", "filename": "1984.185_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1984.185/1984.185_full.tif", "width": "4266", "height": "3474", "filesize": "44489996", "filename": "1984.185_full.tif"}}, "alternate_images": [], "creditline": "In memory of Hattie M. Horvitz from her sons Harry, Leonard, and Bill", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151893, "creators": [{"id": 19542, "description": "Rookwood Pottery Company (American, established 1880)", "extent": null, "qualifier": null, "role": "made at", "biography": "one of the most important factories for art pottery in the USA, founded in Cincinnati in 1880 by Mrs. Maria Nichols (later Mrs. Storer) with financial support from her father, Joseph Longworth, a rich patron of the arts. Named after their family home.", "name_in_original_language": null, "birth_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 19592, "description": "Artus Van Briggle (American, 1869\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "American art potter, born in Felicity, Ohio, trained as a painter at the Academy of Art in Cincinnati, where he was employed by the Rookwood Pottery. In 1893 he was given a scholarship to study painting in Paris, where he spent three years. Back in Cincinnati he resumed work as a painter of underglaze decorations at the Rookwood pottery but also began to experiment with matt glazes. Suffering from tuberculosis he left in 1899 and settled in Colorado Springs, Colorado. Here, during the few years left to him, he made a remarkable number of vases, distinctly Art Nouveau in form and decoration, covered with matt glazes of subtle texture and delicately subdued color. Many models were cast and repeated. After his death the pottery was carried on by his widow, who moved into a larger factory in 1907 but sold it in 1912.", "name_in_original_language": null, "birth_year": "1869", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-01-21T00:00:00", "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": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:13.595000"}, {"id": 152511, "accession_number": "1985.331", "share_license_status": "CC0", "tombstone": "Nakamura Nakazo II as Matsuomaru in the Carriage-Stopping Scene, 1796. Utagawa Kunimasa (Japanese, 1773\u20131810). Color woodblock print, with mica and lacquer; sheet: 38.8 x 25.8 cm (15 1/4 x 10 3/16 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.331", "current_location": null, "title": "Nakamura Nakazo II as Matsuomaru in the Carriage-Stopping Scene", "creation_date": "1796", "creation_date_earliest": 1796, "creation_date_latest": 1796, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print, with mica and lacquer", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Sheet: 38.8 x 25.8 cm (15 1/4 x 10 3/16 in.)", "dimensions": {"sheet": {"height": 0.388, "height_inch": 15, "height_inch_fraction": 0.25, "width": 0.258, "width_inch": 10, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Kunimasa ga.\nPublisher: Uemura.\nCensorship Seal: kiwame.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}], "legacy": []}, "provenance": [{"description": "Harold L. Henderson", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(R. E. Lewis, Inc., California, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899-1998] given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131985", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": ["969.1974"], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79937342"], "internet_archive": ["https://archive.org/details/clevelandart-1985.331-nakamura-nakazo-ii-a"]}, "citations": [{"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 293", "url": "https://www.jstor.org/stable/25160040"}], "url": "https://clevelandart.org/art/1985.331", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.331/1985.331_web.jpg", "width": "599", "height": "900", "filesize": "205915", "filename": "1985.331_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.331/1985.331_print.jpg", "width": "2263", "height": "3400", "filesize": "2645038", "filename": "1985.331_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.331/1985.331_full.tif", "width": "5089", "height": "7647", "filesize": "116778024", "filename": "1985.331_full.tif"}}, "alternate_images": [], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152511, "creators": [{"id": 32768, "description": "Utagawa Kunimasa (Japanese, 1773\u20131810)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6b4c\u5ddd \u56fd\u653f", "birth_year": "1773", "death_year": "1810", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1796, "date_added_to_oa": null, "date_text": "1796", "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": "2026-05-01 06:51:17.457000"}, {"id": 153256, "accession_number": "1986.220", "share_license_status": "Copyrighted", "tombstone": "Untitled (Train with Oil Cars, Otis Steel Co., Cleveland), 1928. Margaret Bourke-White (American, 1904\u20131971). Vintage gelatin silver print; image: 34.4 x 26.1 cm (13 9/16 x 10 1/4 in.); matted: 61 x 50.8 cm (24 x 20 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Robert M. Levin, 1986.220. \u00a9 Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Untitled (Train with Oil Cars, Otis Steel Co., Cleveland)", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["female", "May Show"], "culture": ["America"], "technique": "Vintage gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 34.4 x 26.1 cm (13 9/16 x 10 1/4 in.); Matted: 61 x 50.8 cm (24 x 20 in.)", "dimensions": {"image": {"height": 0.344, "height_inch": 13, "height_inch_fraction": 0.5625, "width": 0.261, "width_inch": 10, "width_inch_fraction": 0.25}, "matted": {"height": 0.61, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Written in pencil on recto of mount: \"Bourke-White [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 188842, "title": "Conserving the Past for the Future", "description": "<i>Conserving the Past for the Future</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-May 6, 2001).", "opening_date": "2001-03-04T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79938875"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 106", "url": ""}], "url": "https://clevelandart.org/art/1986.220", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Robert M. Levin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153256, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). 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McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127225, "creators": [{"id": 3363, "description": "Toussaint Auguste (Haitian, b. 1925)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-12-23T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "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": "2026-05-01 06:48:54.841000"}, {"id": 127424, "accession_number": "1950.108", "share_license_status": "Copyrighted", "tombstone": "Summer's End, 1949. Richard Gosminski (American, 1925\u20131995). Watercolor. The Cleveland Museum of Art, Cleveland Traveling Exhibitions Fund, 1950.108", "current_location": null, "title": "Summer's End", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "watercolor", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383017, "title": "The May Show: 32nd Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 32nd Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Joan Kempsmith (American, 1926\u20132013). Encaustic on compo board; unframed: 68 x 48.3 cm (26 3/4 x 19 in.). The Cleveland Museum of Art, Gift of Edgar Worch, 1950.111", "current_location": null, "title": "Carnival Time", "creation_date": "1950", "creation_date_earliest": 1950, "creation_date_latest": 1950, "artists_tags": ["female", "May Show"], "culture": ["America, Ohio, Cleveland"], "technique": "encaustic on compo board", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 68 x 48.3 cm (26 3/4 x 19 in.)", "dimensions": {"unframed": {"height": 0.68, "height_inch": 26, "height_inch_fraction": 0.75, "width": 0.483, "width_inch": 19, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Kempsmith 1950.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 383017, "title": "The May Show: 32nd Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 32nd Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Shirley G. Kravitz (American, 1927\u20132017). Watercolor; image: 47.6 x 62.5 cm (18 3/4 x 24 5/8 in.). The Cleveland Museum of Art, Gift of Mrs. Edward A. Conger, 1950.113", "current_location": null, "title": "Little Harbor, Marblehead", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["female", "May Show"], "culture": ["America, Ohio, Cleveland"], "technique": "watercolor", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "measurements": "Image: 47.6 x 62.5 cm (18 3/4 x 24 5/8 in.)", "dimensions": {"image": {"height": 0.476, "height_inch": 18, "height_inch_fraction": 0.75, "width": 0.625, "width_inch": 24, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"Kravitz\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 383017, "title": "The May Show: 32nd Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 32nd Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. 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Conger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127429, "creators": [{"id": 15248, "description": "Shirley G. 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Watercolor, gouache, and pen and black ink; sheet: 41.6 x 26.7 cm (16 3/8 x 10 1/2 in.). The Cleveland Museum of Art, Gift of Mrs. Malcolm L. McBride, 1951.433", "current_location": null, "title": "The Jungle: Still Life, No. 7", "creation_date": "1943", "creation_date_earliest": 1943, "creation_date_latest": 1943, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor, gouache, and pen and black ink", "support_materials": [{"description": "Japanese paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 41.6 x 26.7 cm (16 3/8 x 10 1/2 in.)", "dimensions": {"sheet": {"height": 0.416, "height_inch": 16, "height_inch_fraction": 0.375, "width": 0.267, "width_inch": 10, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right below white margin: \"Edward John Stevens Jr. 1943\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in lower left: \"The Jungle Still Life #7/To Mrs. McBride with best wishes, Edward John Stevens, Jr.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301852, "title": "Water Colors from the Museum Collection", "description": "<i>Water Colors from the Museum Collection</i>. 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McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128811, "creators": [{"id": 15471, "description": "Edward John Stevens (American, 1923\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1923", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-11-15T00:00:00", "sortable_date": 1943, "date_added_to_oa": null, "date_text": "1943", "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": "2026-05-01 06:49:02.962000"}, {"id": 130877, "accession_number": "1953.575", "share_license_status": "Copyrighted", "tombstone": "Rainy Day in July, 1915. Charles Burchfield (American, 1893\u20131967). Pencil with pen and black ink. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1953.575. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Rainy Day in July", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "pencil with pen and black ink", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. 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Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-12-15T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "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": "2026-05-01 06:49:14.848000"}, {"id": 135774, "accession_number": "1959.304.b", "share_license_status": "CC0", "tombstone": "Seated Man (verso), 1911. Egon Schiele (Austrian, 1890\u20131918). Graphite; sheet: 48.2 x 31.9 cm (19 x 12 9/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Severance A. Millikin, 1959.304.b", "current_location": null, "title": "Seated Man (verso)", "creation_date": "1911", "creation_date_earliest": 1911, "creation_date_latest": 1911, "artists_tags": ["male"], "culture": ["Austria"], "technique": "graphite", "support_materials": [{"description": "beige(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - Austrian", "type": "Drawing", "measurements": "Sheet: 48.2 x 31.9 cm (19 x 12 9/16 in.)", "dimensions": {"sheet": {"height": 0.482, "height_inch": 19, "height_inch_fraction": 0.0, "width": 0.319, "width_inch": 12, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "upper right, in graphite: II [circled] ; lower right, in graphite: N\u00ba 921. ; A. 1665 ; lower left, in graphite: [illegible, erased]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 213354, "title": "Utopia and Alienation: German Art and Expressionsim, 1900-1935", "description": "<i>Utopia and Alienation: German Art and Expressionsim, 1900-1935</i>. 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Millikin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135774, "creators": [{"id": 11671, "description": "Egon Schiele (Austrian, 1890\u20131918)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1890", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1959-12-19T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1959.304", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:49:39.007000"}, {"id": 136687, "accession_number": "1961.225", "share_license_status": "Copyrighted", "tombstone": "Plate, 1960. Anthony W. Corrao (American, 1938\u20131961). Stoneware; diameter: 40.7 cm (16 in.); overall: 2.9 cm (1 1/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. William J. Corrao in memory of their son, Anthony W. 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Alexander Aitken (American, b. 1946), Andrzej Babij (American), Garie W. Crawford (American, 1947-), Ivan Aquino (American), Jane Walker-Snider (American), June Bonner (American, 1919\u20132016), Mary Brownlow (American), Masumi Hayashi (American, 1945\u20132006), Nancy Underhill (American, b. 1934), Paul Jacklitch (American, b.1961), Phyllis Seltzer (American, 1928\u20132023), Phyllis Sloane (American, 1921\u20132009). Portfolio of 12 electrostatic prints. The Cleveland Museum of Art, Gift of The Print Club of Cleveland and gift of Mr. and Mrs. Sidney D. 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Josephs in honor of Dr. and Mrs. Gerard Seltzer's 30th Anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151313, "creators": [{"id": 29934, "description": "Alexander Aitken (American, b. 1946)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 33410, "description": "Andrzej Babij (American)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 31076, "description": "Garie W. Crawford (American, 1947-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 29975, "description": "Ivan Aquino (American)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 32969, "description": "Jane Walker-Snider (American)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 33602, "description": "June Bonner (American, 1919\u20132016)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1919", "death_year": "2016", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 33643, "description": "Mary Brownlow (American)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 473, "description": "Masumi Hayashi (American, 1945\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Masumi Hayashi American, 1945-2006 Masumi Hayashi (born in Rivers, Arizona) is recognized for her panoramic photocollages -- pictures of space \"remapped\" to address cultural, political, and environmental concerns. She chooses as subjects toxic waste sites, abandoned industrial structures, and prisons, photographing with a rotating camera to produce dozens of small images. Commercially developed, the photographs are then reconfigured into large-scale grids. In 1995 Hayashi began work on a project to photograph her birthplace at the Gila River Relocation Center. Because the center was an internment camp for Japanese Americans during World War II, the subject is charged with both personal and political associations for the artist, who has expanded her single-medium approach to incorporate tape-recorded oral histories with the intent of translating the project onto cd-rom. Hayashi has worked as a freelance artist and graphic designer since 1977, operating her own company, Custom Picture Post Card Co. Educated at Florida State University (B.A., 1975; M.F.A., photography, 1977), she has taught at Loyola Marymount College (1983), the Cleveland Institute of Art (1986), and, since 1982, Cleveland State University. A regular participant and award-winner in the Cleveland Museum of Art's May Show, a regional juried exhibition, Hayashi has also received the Florida Craftsman Award (1976), an artist-in-residency at the J. M. Kohler Art Center, Sheboygan, Wisconsin (1985), and a Cleveland Visual Artist's Award (1994). She has also been awarded a number of grants from the arts councils of Florida (1980) and Ohio (1988, 1989, 1995, 1996). Hayashi is active as a curator and lecturer, frequently participating in panel discussions across the United States. She lives in Cleveland. A.W.", "name_in_original_language": null, "birth_year": "1945", "death_year": "2006", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 30441, "description": "Nancy Underhill (American, b. 1934)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 30313, "description": "Paul Jacklitch (American, b.1961)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 30426, "description": "Phyllis Seltzer (American, 1928\u20132023)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1928", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28880, "description": "Phyllis Sloane (American, 1921\u20132009)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1921", "death_year": "2009", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-10-12T00:00:00", "sortable_date": 1982, "date_added_to_oa": null, "date_text": "1982", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "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": "2026-05-01 06:51:10.410000"}, {"id": 151333, "accession_number": "1983.182", "share_license_status": "CC0", "tombstone": "Edwin Edwards, 1861. 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Neil J. Patterson (American, b. 1963). Earthenware; diameter: 14 cm (5 1/2 in.); overall: 26.2 x 13.2 cm (10 5/16 x 5 3/16 in.). 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Encouraged by his family, he took private watercolor lessons and won art prizes in county and state fairs in his early teens. He studied with William Eastman, Henry Keller, and Paul Travis at the Cleveland School of Art, 1923\u201327. He exhibited in the annual May Shows at the Cleveland Museum of Art (1927\u201339). In 1927 William Milliken, then curator of paintings at the art museum, organized a subscription scholarship to allow Carter two years of travel through Italy, Switzerland, England, and France. In the summer of 1927 he studied in Capri with Hans Hofmann. On returning to Cleveland in 1929, Carter had his first solo exhibition at the Cleveland Art Center. He taught studio classes at the Cleveland Museum of Art, 1930\u201337. In 1934, under the auspices of the Public Works of Art Project, the first of the New Deal art programs, Carter was commissioned to paint two murals for Cleveland Public Auditorium. For a subsequent governmental art program, the Works Progress Administration, he served as a district supervisor for painting projects in north east Ohio. After 1935 he completed two federal mural commissions: one for the post office in Ravenna, Ohio, and another for the post office in his hometown. In 1938 he moved to Pittsburgh to teach at the Carnegie Institute of Technology (now Carnegie-Mellon University). During the 1930s and 1940s he showed in annual exhibitions in Philadelphia, New York City, Chicago, and Washington, D.C. <br><em>Transformations in Cleveland Art</em> (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1904", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1989-12-04T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "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": "2026-05-01 06:51:29.756000"}, {"id": 154617, "accession_number": "1989.226", "share_license_status": "Copyrighted", "tombstone": "Mist and Mountains, Capri, 1927. Clarence Holbrook Carter (American, 1904\u20132000). Watercolor over graphite. The Cleveland Museum of Art, Bequest of Mrs. Severance A. Millikin, 1989.226", "current_location": null, "title": "Mist and Mountains, Capri", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male"], "culture": ["America"], "technique": "watercolor over graphite", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310300, "title": "The Severance and Greta Millikin Collection", "description": "<i>The Severance and Greta Millikin Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 5-September 2, 1990).", "opening_date": "1990-07-05T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79941871"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1989.226", "images": {}, "alternate_images": [], "creditline": "Bequest of Mrs. Severance A. Millikin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154617, "creators": [{"id": 9325, "description": "Clarence Holbrook Carter (American, 1904\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of Cleveland\u2019s most imaginative interpreters of the American scene, Clarence Carter was born in Portsmouth, Ohio, and developed a love of drawing at an early age. Encouraged by his family, he took private watercolor lessons and won art prizes in county and state fairs in his early teens. He studied with William Eastman, Henry Keller, and Paul Travis at the Cleveland School of Art, 1923\u201327. He exhibited in the annual May Shows at the Cleveland Museum of Art (1927\u201339). In 1927 William Milliken, then curator of paintings at the art museum, organized a subscription scholarship to allow Carter two years of travel through Italy, Switzerland, England, and France. In the summer of 1927 he studied in Capri with Hans Hofmann. On returning to Cleveland in 1929, Carter had his first solo exhibition at the Cleveland Art Center. He taught studio classes at the Cleveland Museum of Art, 1930\u201337. In 1934, under the auspices of the Public Works of Art Project, the first of the New Deal art programs, Carter was commissioned to paint two murals for Cleveland Public Auditorium. For a subsequent governmental art program, the Works Progress Administration, he served as a district supervisor for painting projects in north east Ohio. After 1935 he completed two federal mural commissions: one for the post office in Ravenna, Ohio, and another for the post office in his hometown. In 1938 he moved to Pittsburgh to teach at the Carnegie Institute of Technology (now Carnegie-Mellon University). During the 1930s and 1940s he showed in annual exhibitions in Philadelphia, New York City, Chicago, and Washington, D.C. <br><em>Transformations in Cleveland Art</em> (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1904", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1989-12-04T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "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": "2026-05-01 06:51:29.763000"}, {"id": 157929, "accession_number": "1995.199.3", "share_license_status": "CC0", "tombstone": "Camera Work: Number 3, July 1903, 1903. Alfred Stieglitz (American, 1864\u20131946), Alvin Langdon Coburn (British, 1882\u20131966), Clarence H. White (American, 1871\u20131925), John Francis Strauss (American). Halftone. The Cleveland Museum of Art, Museum Appropriation, 1995.199.3", "current_location": null, "title": "Camera Work: Number 3, July 1903", "creation_date": "1903", "creation_date_earliest": 1903, "creation_date_latest": 1903, "artists_tags": ["Jewish artists", "male"], "culture": ["America and England, 20th century"], "technique": "Halftone", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975379"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1995.199.3/1995.199.3_web.jpg", "width": "900", "height": "720", "filesize": "137744", "filename": "1995.199.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1995.199.3/1995.199.3_print.jpg", "width": "3400", "height": "2720", "filesize": "1888660", "filename": "1995.199.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1995.199.3/1995.199.3_full.tif", "width": "10444", "height": "8356", "filesize": "261841268", "filename": "1995.199.3_full.tif"}}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157929, "creators": [{"id": 9393, "description": "Alfred Stieglitz (American, 1864\u20131946)", "extent": null, "qualifier": null, "role": "artist", "biography": "Photographer, writer, publisher, gallery owner, leader of the Photo-Secession, and mentor to numerous other photographers, Alfred Stieglitz was a pivotal force during the late 19th and 20th centuries in promoting photography in America and gaining its acceptance as an art form. He also pioneered in bringing modern art to this country through the avant-garde European and American work presented in the pages of his well-known journal, Camera Work, and at his gallery, \"291.\" Stieglitz (born in Hoboken, New Jersey) first became interested in photography in the early 1880s while studying mechanical engineering in Germany at the polytechnic institute in Charlottenburg (now a suburb of Berlin). Following a class with the great photochemist Hermann Wilhelm Vogel, Stieglitz turned his attention to photography and soon began writing technical articles on the subject for European journals. In 1887 he won a prize for a photograph submitted to the Holiday Work Competition sponsored by Amateur Photographer magazine. When he returned to the United States three years later, Stieglitz became a partner in the Photochrome Engraving Company; running a business did not interest him, however, and his association with the company lasted only five years. In addition to pursuing his own photographic work and writing articles on pictorial photography for various American journals during the 1890s, Stieglitz became editor of the American Amateur Photographer in 1893. Four years later he took on the editorship of Camera Notes, the journal of the newly formed Camera Club of New York. In 1902 Stieglitz organized the first Photo-Secession exhibition at the National Arts Club in New York, launching an organization that was to play a major role in the fight for recognition of photography as an art form. At the end of the year he began publishing Camera Work, the journal of the Photo-Secession, which soon became one of the premier photographic publications of the day (the first issue, dated January 1903, was published in December 1902). In 1905, with the assistance of painter and photographer Edward Steichen, Stieglitz opened the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The gallery, which soon became known as \"291,\" provided Stieglitz with a center from which to promote art photography and exhibit the work of its finest practitioners. In addition to presenting work by the most advanced American and European pictorial photographers, Stieglitz began showing the work of modern European artists, including Henri Matisse, Pablo Picasso, and Paul C\u00e9zanne. He also organized numerous exhibitions of art photography for museums and expositions in this country and in Europe, including the famous 1910 International Exhibition of Pictorial Photography at the Albright Art Gallery, Buffalo. After closing \"291\" in 1917, Stieglitz focused on his own work, beginning a series of portraits of artist Georgia O'Keeffe (whom he married in 1924) and a series of cloud pictures called Equivalents, which he exhibited in the 1920s at the Anderson Gallery in New York. During these years he also produced a group of photographs of New York City skyscrapers, as well as images of Lake George, New York. Stieglitz continued to photograph into the 1930s. He also ran two galleries from the mid-1920s until his death: the Intimate Gallery (1925-29) and An American Place (1929-46). Both galleries presented the work of a small group of American modernists, including O'Keeffe, Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and Paul Strand, as well as Stieglitz's photographs. M.M.", "name_in_original_language": null, "birth_year": "1864", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 1085, "description": "Clarence H. White (American, 1871\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "Clarence H. White American, 1871-1925 Born in Carlisle, Ohio, Clarence Hudson White moved to the town of Newark in 1887. He began to photograph as a hobby in 1893, quickly becoming quite skilled, and by 1896 his works were recognized by the Ohio Photographers Association. Entirely self-taught, his mastery of the medium was based on his ability to create balanced compositions and to render the subtle effects of natural light. He explored various materials for their aesthetic possibilities, including platinum and gum bichromate prints, and, after 1906, palladium prints. In 1898 White showed his work in Philadelphia, where it came to the attention of Alfred Stieglitz and Joseph Keiley. His images were included in the 1899 Photographic Salon in London, which had been organized by the Linked Ring. From 1900-10 White exhibited in every national and international photographic show in London, Paris, Glasgow, Berlin, and Vienna. Moving to New York City in 1906, he began a career as an educator, lecturing on photography at Columbia University Teachers College (1907-25) and the Brooklyn Institute of Arts and Sciences (1908-21). In 1910 White began teaching summer classes in Seguinland, Maine, which led him to open the Clarence H. White School of Photography in New York in 1914. During summer he continued to teach workshops in New York, Connecticut, and Maine. Among his accomplished students were Margaret Bourke-White, Dorothea Lange, Paul J. Outerbridge, Ralph Steiner, and Karl F. Struss. Named a member of the Linked Ring in 1900, White was nominated to the Photo-Secession in 1902. He was the first president of the Pictorial Photographers of America, helping to found it with Gertrude K\u00e4sebier and others in 1916. Influenced by Japanese art, the work of James Abbott McNeill Whistler, and other progressive sources, White's style is imaginative and gentle, often underscored by his use of platinum papers. He believed that the photograph was a work of fine art in its own right. Although deeply involved and influential in New York's competitive world of photography, White produced his best work from 1893-1906, photographing simple, open scenes of his family and friends in their domestic, midwestern environment. T.W.F.", "name_in_original_language": null, "birth_year": "1871", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 19999, "description": "John Francis Strauss (American)", "extent": null, "qualifier": null, "role": "artist", "biography": "John Francis Strauss American, active 1900s\r\n\r\nThrough the Camera Club of New York, which he joined in 1898, John Francis Strauss became a close associate of Alfred Stieglitz. He served on the editorial board of Camera Notes, the club journal that Stieglitz edited from 1897-1902, and then acted as associate editor of Stieglitz's new publication, Camera Work, from 1903-10. Strauss took part in exhibitions at the club and, as one of the original Fellows of the Photo-Secession, participated in many of that group's early exhibitions, including A Collection of American Pictorial Photographs, organized by Stieglitz in 1904 for the Corcoran Art Galleries, Washington, D.C. Stieglitz also reproduced one of Strauss's images in the July 1903 issue of Camera Work. M.M.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1903, "date_added_to_oa": null, "date_text": "1903", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1995.199", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:52.382000"}, {"id": 159517, "accession_number": "1996.281", "share_license_status": "Copyrighted", "tombstone": "Aeroplane, 1930. Angelo Pinto (American, 1908\u20131994/95). Wood engraving; sheet: 24.6 x 30.5 cm (9 11/16 x 12 in.); image: 13.5 x 20.3 cm (5 5/16 x 8 in.). The Cleveland Museum of Art, John L. Severance Fund, 1996.281", "current_location": null, "title": "Aeroplane", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["America"], "technique": "wood engraving", "support_materials": [], "department": "Prints", "collection": "PR - Wood engraving", "type": "Print", "measurements": "Sheet: 24.6 x 30.5 cm (9 11/16 x 12 in.); Image: 13.5 x 20.3 cm (5 5/16 x 8 in.)", "dimensions": {"sheet": {"height": 0.246, "height_inch": 9, "height_inch_fraction": 0.6875, "width": 0.305, "width_inch": 12, "width_inch_fraction": 0.0}, "image": {"height": 0.135, "height_inch": 5, "height_inch_fraction": 0.3125, "width": 0.203, "width_inch": 8, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": "30", "copyright": null, "inscriptions": [{"inscription": "Titled, numbered, and signed in graphite below block", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 184690, "title": "Against the Grain: Woodcuts from the Collection", "description": "<i>Against the Grain: Woodcuts from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 17-November 9, 2003).", "opening_date": "2003-08-17T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979215"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1996.281", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159517, "creators": [{"id": 10249, "description": "Angelo Pinto (American, 1908\u20131994/95)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1908", "death_year": "1995", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-09-16T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "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": "2026-05-01 06:52:03.939000"}, {"id": 160053, "accession_number": "1997.31", "share_license_status": "CC0", "tombstone": "Soldiers and Officers: Drummer, 1587. Jacob de Gheyn II (Netherlandish, 1565\u20131629), Hendrick Goltzius (Dutch, 1558\u20131617), after Hendrick Goltzius (Dutch, 1558\u20131617). Engraving; sheet: 21.3 x 15.6 cm (8 3/8 x 6 1/8 in.); image: 20.2 x 15.3 cm (7 15/16 x 6 in.). The Cleveland Museum of Art, John L. Severance Fund, 1997.31", "current_location": null, "title": "Drummer", "series": "Soldiers and Officers", "creation_date": "1587", "creation_date_earliest": 1587, "creation_date_latest": 1587, "artists_tags": ["male"], "culture": ["Netherlands, 16th century"], "technique": "engraving", "support_materials": [{"description": "cream(3) laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Sheet: 21.3 x 15.6 cm (8 3/8 x 6 1/8 in.); Image: 20.2 x 15.3 cm (7 15/16 x 6 in.)", "dimensions": {"sheet": {"height": 0.213, "height_inch": 8, "height_inch_fraction": 0.375, "width": 0.156, "width_inch": 6, "width_inch_fraction": 0.125}, "image": {"height": 0.202, "height_inch": 7, "height_inch_fraction": 0.9375, "width": 0.153, "width_inch": 6, "width_inch_fraction": 0.0}}, "state_of_the_work": "i/iii", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower left, in plate: .I. de. Gheyn.scup. ; lower right, in plate: HG.[in monogram] inve. ;  across bottom, in plate: Suta boum pulso simul ac mea Tympana pelle, / Miles ad excubias promptus et arma ruit. ; lower right, in plate: 3 ; verso, lower right, in graphite: 8", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 189312, "title": "Mannerism: Italian, French, and Netherlandish Prints, 1520-1620", "description": "<i>Mannerism: Italian, French, and Netherlandish Prints, 1520-1620</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 3-October 26, 1997).", "opening_date": "1997-08-03T00:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from (Hill-Stone, Inc, New York, NY).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980637"], "internet_archive": ["https://archive.org/details/clevelandart-1997.31-drummer"]}, "citations": [], "catalogue_raisonne": "Hollstein 355 (VII.179)", "url": "https://clevelandart.org/art/1997.31", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.31/1997.31_web.jpg", "width": "669", "height": "893", "filesize": "506106", "filename": "1997.31_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.31/1997.31_print.jpg", "width": "2546", "height": "3400", "filesize": "6984504", "filename": "1997.31_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.31/1997.31_full.tif", "width": "4016", "height": "5364", "filesize": "64658628", "filename": "1997.31_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160053, "creators": [{"id": 4715, "description": "Jacob de Gheyn II (Netherlandish, 1565\u20131629)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1565", "death_year": "1629", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68231, "description": "Hendrick Goltzius (Dutch, 1558\u20131617)", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "birth_year": "1558", "death_year": "1617", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 68231, "description": "Hendrick Goltzius (Dutch, 1558\u20131617)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1558", "death_year": "1617", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1587, "date_added_to_oa": null, "date_text": "1587", "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": "2026-05-01 06:52:08.075000"}, {"id": 161889, "accession_number": "2001.166", "share_license_status": "Copyrighted", "tombstone": "Photographs by Arthur Rothstein, 1935. Arthur Rothstein (American, 1915\u20131985). Gelatin silver print, printed 1981; image: 22.3 x 29.3 cm (8 3/4 x 11 9/16 in.); paper: 27.8 x 35.6 cm (10 15/16 x 14 in.). The Cleveland Museum of Art, Gift of Alan and Monah L. Gettner, 2001.166", "current_location": null, "title": "Photographs by Arthur Rothstein", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print, printed 1981", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Portfolio", "measurements": "Image: 22.3 x 29.3 cm (8 3/4 x 11 9/16 in.); Paper: 27.8 x 35.6 cm (10 15/16 x 14 in.)", "dimensions": {"image": {"height": 0.223, "height_inch": 8, "height_inch_fraction": 0.75, "width": 0.293, "width_inch": 11, "width_inch_fraction": 0.5625}, "paper": {"height": 0.278, "height_inch": 10, "height_inch_fraction": 0.9375, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "written in pencil on recto: \"Arthur Rothstein\" [signed]\r\nwritten in pencil on verso: \"1\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. 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Arthur Rothstein (American, 1915\u20131985). Gelatin silver print, printed 1981; image: 20.5 x 30.8 cm (8 1/16 x 12 1/8 in.); paper: 27.7 x 35.6 cm (10 7/8 x 14 in.). The Cleveland Museum of Art, Gift of Alan and Monah L. 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Arthur Rothstein (American, 1915\u20131985). Six gelatin silver prints. The Cleveland Museum of Art, Gift of Alan and Monah L. Gettner, 2002.82", "current_location": null, "title": "Photographs by Arthur Rothstein", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "Six gelatin silver prints", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "written in pencil on recto: \"Arthur Rothstein\" [signed]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. 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Henri Regnault (French, 1843\u20131871). Black chalk; sheet: 29.3 x 23.2 cm (11 9/16 x 9 1/8 in.). 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A timid being, respectful of others, was hidden behind a sometimes arrogant facade. Highly athletic, he was an untiring hiker; he swam, hunted, and went horseback riding. He had always made drawings; as a child he drew the animals of the Jardin des Plantes from memory. Once he had completed his classical studies, Regnault had no difficulty in deciding upon his vocation. Seeking advice, his father, Victor Regnault, the famous chemist and physicist, contacted Ingres (q.v.) and Hippolyte Flandrin (1809-1864). At that time Flandrin was very busy painting frescoes at Saint Germain-des-Pr\u00e9s and could not take Regnault on as a student. Thus, Flandrin directed him to the studio of Louis Lamothe (1822-1869), another former student of Ingres.1 Austere and dull, Lamothe knew no better than to assign Regnault the task of drawing after the religious subjects of Raphael (1493-1520), Poussin (1594-1665), and Ingres. Meanwhile, at the \u00c9cole des Beaux-Arts, under Alexandre Cabanel (1823-1889) Regnault was being taught to work after nude models. Neither method suited the young student, who was more interested in color. Nevertheless, even this experience did not thwart his deeply felt calling. \r\nJust at the beginning of a dazzling career, Regnault's life ended tragically when, at the age of twenty-seven, he fell under Prussian fire at Buzenval in 1871.", "name_in_original_language": null, "birth_year": "1843", "death_year": "1871", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866", "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": "2026-05-01 06:52:54.786000"}, {"id": 168919, "accession_number": "2010.598", "share_license_status": "Copyrighted", "tombstone": "Harve's Farm. W. Wickam, Kent, 1927. Stanley Roy Badmin (British, 1906\u20131989). Etching; sheet: 28.1 x 46 cm (11 1/16 x 18 1/8 in.); platemark: 21.8 x 39.6 cm (8 9/16 x 15 9/16 in.). The Cleveland Museum of Art, Gift of John Bonebrake, 2010.598", "current_location": null, "title": "Harve's Farm. W. Wickam, Kent", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "etching", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 28.1 x 46 cm (11 1/16 x 18 1/8 in.); Platemark: 21.8 x 39.6 cm (8 9/16 x 15 9/16 in.)", "dimensions": {"sheet": {"height": 0.281, "height_inch": 11, "height_inch_fraction": 0.0625, "width": 0.46, "width_inch": 18, "width_inch_fraction": 0.125}, "platemark": {"height": 0.218, "height_inch": 8, "height_inch_fraction": 0.5625, "width": 0.396, "width_inch": 15, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Lower right, in pencil: \"S.R. Badmin\"\r\nLower left, in pencil: \"Harve's Farm. W. Wickam 3/35\"\r\nInscribed in plate, lower right: \"Harve's Farm. W. Wickam, Kent S.R. Badmin '27\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 199964, "title": "A Passion for Prints: The John Bonebrake Donation", "description": "<i>A Passion for Prints: The John Bonebrake Donation</i>. 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John Everett Millais (British, 1829\u20131896). Pen and black ink on original mount; sheet: 36.1 x 48.7 cm (14 3/16 x 19 3/16 in.); secondary support: 43.1 x 55.4 cm (16 15/16 x 21 13/16 in.). The Cleveland Museum of Art, Gift in memory of Helen Borowitz, 2013.253", "current_location": null, "title": "Aeneas Shown the Body of Pallas from Virgil's \"Aeneid\"", "creation_date": "1843", "creation_date_earliest": 1843, "creation_date_latest": 1843, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "pen and black ink on original mount", "support_materials": [{"description": "light tan, medium-weight, slightly textured, wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 36.1 x 48.7 cm (14 3/16 x 19 3/16 in.); Secondary Support: 43.1 x 55.4 cm (16 15/16 x 21 13/16 in.)", "dimensions": {"sheet": {"height": 0.361, "height_inch": 14, "height_inch_fraction": 0.1875, "width": 0.487, "width_inch": 19, "width_inch_fraction": 0.1875}, "secondary support": {"height": 0.431, "height_inch": 16, "height_inch_fraction": 0.9375, "width": 0.554, "width_inch": 21, "width_inch_fraction": 0.8125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, original mount, lower right, in black ink: J. E. Millais / 1843\r\ninscribed, original mount, lower margin, in black ink: They rear his drooping forehead from the ground;/ But when Aeneas view\u2019d the grisly wound / Which Pallas in his manly bosom bore, / And the fair flesh distain\u2019d with purple gore:/ First, melting into tears, the pious man/ Deplor\u2019d so sad a sight, then thus began\r\ninscribed, original mount, lower right, in black ink: Dryden\u2019s Virgil [?] Book (worn away)\r\nnote:  Inscription from John Dryden\u2019s (1631-1700) translation of Virgil\u2019s Aeneid Book XI (1697).", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Among a series of drawings that were submitted into a competition organized by the Art Union of London", "opening_date": null}]}, "provenance": [{"description": "Helen and Albert Borowitz, Cleveland, Ohio", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80079837"], "internet_archive": ["https://archive.org/details/clevelandart-2013.253-aeneas-shown-the-bod"]}, "citations": [], "url": "https://clevelandart.org/art/2013.253", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.253/2013.253_web.jpg", "width": "900", "height": "708", "filesize": "182259", "filename": "2013.253_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.253/2013.253_print.jpg", "width": "3400", "height": "2673", "filesize": "2345206", "filename": "2013.253_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.253/2013.253_full.tif", "width": "7348", "height": "5776", "filesize": "127353040", "filename": "2013.253_full.tif"}}, "alternate_images": [], "creditline": "Gift in memory of Helen Borowitz", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170732, "creators": [{"id": 63375, "description": "John Everett Millais (British, 1829\u20131896)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1829", "death_year": "1896", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-12-02T00:00:00", "sortable_date": 1843, "date_added_to_oa": null, "date_text": "1843", "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": "2026-05-01 06:53:22.833000"}, {"id": 98083, "accession_number": "1917.707", "share_license_status": "CC0", "tombstone": "John Jay, 1887. Albert Rosenthal (American, 1863\u20131939). Etching. The Cleveland Museum of Art, Gift of Albert Rosenthal, 1917.707", "current_location": null, "title": "John Jay", "creation_date": "1887", "creation_date_earliest": 1887, "creation_date_latest": 1887, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79483301"], "internet_archive": ["https://archive.org/details/clevelandart-1917.707-john-jay"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 64-67.", "page_number": "Mentioned: p. 65", "url": "http://www.jstor.org/stable/25136092"}, {"citation": "\"Print Department.\" <em>The Bulletin of the Cleveland Museum of Art</em>7, no. 1 (1920): 8.", "page_number": "Mentioned: p. 8", "url": "www.jstor.org/stable/25136339"}], "url": "https://clevelandart.org/art/1917.707", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.707/1917.707_web.jpg", "width": "654", "height": "893", "filesize": "372339", "filename": "1917.707_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.707/1917.707_print.jpg", "width": "1876", "height": "2562", "filesize": "3265300", "filename": "1917.707_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.707/1917.707_full.tif", "width": "1876", "height": "2562", "filesize": "14436904", "filename": "1917.707_full.tif"}}, "alternate_images": [], "creditline": "Gift of Albert Rosenthal", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98083, "creators": [{"id": 32449, "description": "Albert Rosenthal (American, 1863\u20131939)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1863", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1917-04-27T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887", "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": "2026-05-01 06:46:19.292000"}, {"id": 98369, "accession_number": "1918.105", "share_license_status": "CC0", "tombstone": "The Plan, 1870. Paul Rajon (French, 1842/43\u20131888), after \u00c9douard Detaille (French, 1848\u20131912). Etching with white heightening. The Cleveland Museum of Art, Gift of Frederick Keppel and Co., Inc., The Frederick Keppel Memorial, 1918.105", "current_location": null, "title": "The Plan", "creation_date": "1870", "creation_date_earliest": 1870, "creation_date_latest": 1870, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching with white heightening", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": "touched proof", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79484010"], "internet_archive": ["https://archive.org/details/clevelandart-1918.105-study-of-two-figures"]}, "citations": [{"citation": "\"The Frederick Keppel Memorial.\" <em>The Bulletin of the Cleveland Museum of Art</em> 6, no. 1 (1919): 3-5.", "page_number": "Mentioned: p. 4", "url": "http://www.jstor.org/stable/25136245"}, {"citation": "\"Print Department.\" <em>The Bulletin of the Cleveland Museum of Art</em>7, no. 1 (1920): 8.", "page_number": "Mentioned: p. 8", "url": "www.jstor.org/stable/25136339"}], "url": "https://clevelandart.org/art/1918.105", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1918.105/1918.105_web.jpg", "width": "646", "height": "893", "filesize": "508382", "filename": "1918.105_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1918.105/1918.105_print.jpg", "width": "2461", "height": "3400", "filesize": "6729442", "filename": "1918.105_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1918.105/1918.105_full.tif", "width": "3684", "height": "5090", "filesize": "56288140", "filename": "1918.105_full.tif"}}, "alternate_images": [], "creditline": "Gift of Frederick Keppel and Co., Inc., The Frederick Keppel Memorial", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98369, "creators": [{"id": 29560, "description": "Paul Rajon (French, 1842/43\u20131888)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1842", "death_year": "1888", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 1768, "description": "\u00c9douard Detaille (French, 1848\u20131912)", "extent": null, "qualifier": "after", "role": null, "biography": "In 1865 Meissonier (q.v.) was asked to give a recommendation for \u00c9douard Detaille, then seventeen years old, to apprentice with Alexandre Cabanel (1823-1889). After seeing Detaille's portfolio, however, Meissonier himself accepted him as a student. Detaille received a thorough training, and the same precision that defined the work of his teacher would soon characterize Detaille as an artist. He made his debut at the Salon as early as 1867 with the Interior of Meissonier's Studio, but his reputation was firmly established at the Salon of 1869, when he received his first medal for A Rest During Maneuvers, Camp at Saint Maur. The military predilection that dominated Detaille's oeuvre was undoubtedly influenced by the fact that his grandfather had been an arms supplier to Napol\u00e9on, his brother served in the military, and his father was close friends with the battle painter Vernet (q.v.). Before the Franco-Prussian War (1870-71) erupted, Detaille was on a sketching trip in Algeria. He returned to France and joined the Eighth Battalion of the Mobiles and recorded enemy positions under General Appert. This firsthand experience of military life provided him with ample material for his subsequent artistic output. The Victors and A German Convoy, which Detaille submitted to the Salon of 1872, were rejected by officials in order to avoid diplomatic embarrassment with the German government, to whom France was paying a huge war indemnity. He studied and collected French and foreign uniforms and in 1883 issued two illustrated volumes recording the various uniforms of the French army from 1789 to 1870. Detaille also represented scenes of the Franco-Prussian War in two vast panoramas, Champigny and Rezonville (1882, 1883, now dispersed), on which he collaborated with another famous battle painter of the era, Alphonse Marie Deneuville (1835-1885). Even after the war, Detaille continued his involvement with military maneuvers, including, for example, an expedition to Tunisia in 1881. Apart from his easel paintings and panoramas, the artist also painted murals (1905, Panth\u00e9on, Paris; 1908, H\u00f4tel de Ville, Paris) and made watercolors. He has been criticized by some for paying too much attention to details rather than the overall composition and for his overly nationalistic sympathies. However, Detaille should be regarded as the quasi-official French military painter of the second half of the nineteenth century. He received many honors, and in 1916 a gallery dedicated to his work opened in the Mus\u00e9e de l'Arm\u00e9e in Paris. At the end of his career, Detaille's artistic approach may have seemed outdated, but from a political point of view it certainly served its purpose.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1912", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1918-12-31T00:00:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "1870", "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": ["Study of Two Figures"], "is_highlight": false, "updated_at": "2026-05-01 06:46:20.668000"}, {"id": 99364, "accession_number": "1918.92", "share_license_status": "CC0", "tombstone": "Oceanie, 1845. Charles Meryon (French, 1821\u20131868). Etching. The Cleveland Museum of Art, Gift of Frederick Keppel and Co., Inc., The Frederick Keppel Memorial, 1918.92", "current_location": null, "title": "Oceanie", "creation_date": "1845", "creation_date_earliest": 1845, "creation_date_latest": 1845, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": "IV/IV", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79487241"], "internet_archive": ["https://archive.org/details/clevelandart-1918.92-oceanie"]}, "citations": [{"citation": "\"The Frederick Keppel Memorial.\" <em>The Bulletin of the Cleveland Museum of Art</em> 6, no. 1 (1919): 3-5.", "page_number": "Mentioned: p. 4", "url": "http://www.jstor.org/stable/25136245"}, {"citation": "\"Print Department.\" <em>The Bulletin of the Cleveland Museum of Art</em>7, no. 1 (1920): 8.", "page_number": "Mentioned: p. 8", "url": "www.jstor.org/stable/25136339"}], "catalogue_raisonne": "Delteil & Wright 68", "url": "https://clevelandart.org/art/1918.92", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1918.92/1918.92_web.jpg", "width": "1263", "height": "609", "filesize": "571848", "filename": "1918.92_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1918.92/1918.92_print.jpg", "width": "3400", "height": "1639", "filesize": "4076367", "filename": "1918.92_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1918.92/1918.92_full.tif", "width": "6144", "height": "2961", "filesize": "54606436", "filename": "1918.92_full.tif"}}, "alternate_images": [], "creditline": "Gift of Frederick Keppel and Co., Inc., The Frederick Keppel Memorial", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 99364, "creators": [{"id": 29529, "description": "Charles Meryon (French, 1821\u20131868)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1821", "death_year": "1868", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1919-12-31T00:00:00", "sortable_date": 1845, "date_added_to_oa": null, "date_text": "1845", "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": "2026-05-01 06:46:26.745000"}, {"id": 156986, "accession_number": "1993.141", "share_license_status": "Copyrighted", "tombstone": "Untitled (Voyage to Europe), 1909. Karl F. Struss (American, 1886\u20131981). Gelatin silver print; image: 7.1 x 9.6 cm (2 13/16 x 3 3/4 in.); paper: 7.7 x 10.3 cm (3 1/16 x 4 1/16 in.); matted: 25.4 x 30.6 cm (10 x 12 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1993.141", "current_location": null, "title": "Untitled (Voyage to Europe)", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 7.1 x 9.6 cm (2 13/16 x 3 3/4 in.); Paper: 7.7 x 10.3 cm (3 1/16 x 4 1/16 in.); Matted: 25.4 x 30.6 cm (10 x 12 1/16 in.)", "dimensions": {"image": {"height": 0.071, "height_inch": 2, "height_inch_fraction": 0.8125, "width": 0.096, "width_inch": 3, "width_inch_fraction": 0.75}, "paper": {"height": 0.077, "height_inch": 3, "height_inch_fraction": 0.0625, "width": 0.103, "width_inch": 4, "width_inch_fraction": 0.0625}, "matted": {"height": 0.254, "height_inch": 10, "height_inch_fraction": 0.0, "width": 0.306, "width_inch": 12, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": "probably unique print", "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso: \"X\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Karl Struss Family Trust", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79947107"], "internet_archive": []}, "citations": [{"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. 161", "url": "http://www.jstor.org/stable/25161457"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 348", "url": ""}], "url": "https://clevelandart.org/art/1993.141", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156986, "creators": [{"id": 970, "description": "Karl F. Struss (American, 1886\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karl F. Struss American, 1886-1981\r\n\r\nBorn and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar.\r\n\tA student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915.\r\n\tShortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-09-15T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "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": "2026-05-01 06:51:45.306000"}, {"id": 97650, "accession_number": "1917.291", "share_license_status": "CC0", "tombstone": "Head of a Girl, 1870. Hans Meyer (German, 1846\u20131919). Engraving. 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Frederick Garrison Hall (American, 1879\u20131946). Engraving. 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These established his repu-tation as a landscape painter and drafts-man of medieval architecture. However, the group of five marine paintings submitted to the 1824 Salon, for which he was awarded a gold medal, confirmed his preeminence in the French romantic school. Bonington made the first of sev-eral trips to London in 1825, after which he shared a studio with Eug\u00e8ne Delacroix (q.v.) in Paris until his departure for a brief tour of Northern Italy in April 1826. It was Delacroix who persuaded Bonington to expand his interests beyond landscape to include figural subjects. In the final two hectic years of his life, Bonington produced mostly Venetian views and historical and literary illustra-tions, which he exhibited at both the 1827-28 Paris Salon and the 1828 Royal Academy exhibitions. He died in London from tuberculosis in September 1828. 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Despite the brevity of his career, Bonington's protean originality and dazzling virtuoso style inspired a host of French and British imitators, while his relationships with Delacroix and the landscape painters Eug\u00e8ne Isabey (1803-1886) and Paul Huet (1803-1869) would be of cardinal importance to the subsequent development of French painting.", "name_in_original_language": null, "birth_year": "1802", "death_year": "1828", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-12-02T00:00:00", "sortable_date": 1824, "date_added_to_oa": null, "date_text": "1824", "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": "2026-05-01 06:48:17.279000"}, {"id": 121123, "accession_number": "1942.1006", "share_license_status": "CC0", "tombstone": "Voyages pittoresques et romantiques dans l'ancienne France,  Franche-Comt\u00e9:  \u00c9glise de l'abbaye de Tournus, 1825. Richard Parkes Bonington (British, 1802\u20131828). Lithograph. The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1942.1006", "current_location": null, "title": "Voyages pittoresques et romantiques dans l'ancienne France,  Franche-Comt\u00e9:  \u00c9glise de l'abbaye de Tournus", "creation_date": "1825", "creation_date_earliest": 1825, "creation_date_latest": 1825, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016793"], "internet_archive": ["https://archive.org/details/clevelandart-1942.1006-voyages-pittoresques"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. 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Winslow Homer (American, 1836\u20131910). Wood engraving. The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1942.1474", "current_location": null, "title": "Boston Street Characters", "creation_date": "1859", "creation_date_earliest": 1859, "creation_date_latest": 1859, "artists_tags": ["male"], "culture": ["America"], "technique": "wood engraving", "support_materials": [], "department": "Prints", "collection": "PR - Wood engraving", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80017945"], "internet_archive": ["https://archive.org/details/clevelandart-1942.1474-boston-street-charac"]}, "citations": [{"citation": "Leja, Michael. <em>A Flood of Pictures: The Formation of a Picture Culture in the United States. </em>Philadelphia: University of Pennsylvania Press, 2025.", "page_number": "Mentioned and reproduced: p. 327-329, fig. 7.18", "url": ""}], "catalogue_raisonne": "Foster supplement 27", "url": "https://clevelandart.org/art/1942.1474", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.1474/1942.1474_web.jpg", "width": "653", "height": "893", "filesize": "570969", "filename": "1942.1474_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.1474/1942.1474_print.jpg", "width": "2488", "height": "3400", "filesize": "7732058", "filename": "1942.1474_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.1474/1942.1474_full.tif", "width": "3652", "height": "4991", "filesize": "54718824", "filename": "1942.1474_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121648, "creators": [{"id": 3143, "description": "Winslow Homer (American, 1836\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1836", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-02-13T00:00:00", "sortable_date": 1859, "date_added_to_oa": null, "date_text": "1859", "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": "2026-05-01 06:48:21.034000"}, {"id": 156085, "accession_number": "1991.328", "share_license_status": "Copyrighted", "tombstone": "Portfolio 6, 1968. Aaron Siskind (American, 1903\u20131991), Antonio A. Fernandez (American, 1941-), Arthur Siegel (American, 1913\u20131978), Barry Burlison (American, 1941-), Constance Brenner (American, 1943-), James Newberry (American, 1937-), Jerry Aronson (American, 1945-), Joe Crumley (American, 1940-), Joseph D. Jachna (American, 1935\u20131953), Karin A. Vanek (American), Linda S. Connor (American, 1944-), Stephen Ryan (American, 1939-), Thomas Brown (American, 1940-). 13 gelatin silver prints. The Cleveland Museum of Art, Gift of Mr. and Mrs. Thomas A. Mann, 1991.328", "current_location": null, "title": "Portfolio 6", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["Jewish artists", "male", "female"], "culture": ["America"], "technique": "13 gelatin silver prints", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Portfolio", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. Thomas A. Mann", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "May 18, 1992", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79945014"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 87, 112-114, 129, 134, 156, 203, 254, 311, 319, 323, 367", "url": ""}], "url": "https://clevelandart.org/art/1991.328", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Thomas A. Mann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156085, "creators": [{"id": 912, "description": "Aaron Siskind (American, 1903\u20131991)", "extent": null, "qualifier": null, "role": "artist", "biography": "Aaron Siskind American, 1903-1991 Born in New York City, Aaron Siskind inspired many photographers through the example of his own work and his instruction at the Institute of Design, Illinois Institute of Technology, and at the Rhode Island School of Design. Graduating from City College of New York in 1926, Siskind taught English in the city's public schools for 23 years. He took up photography as a hobby in 1930 and two years later learned to process and print his own images. Around this time he joined the Photo League, an organization of socially concerned photographers who promoted documentary photography. Siskind headed the league's project focusing on Harlem (Harlem Document) and also produced his own series Tabernacle City, Bucks County and The Most Crowded Block in the World. In the early 1940s, Siskind's work gradually shifted from a social documentary approach to a more abstract and personal style. During summers on Martha's Vineyard and in Gloucester, Massachusetts, he began photographing natural objects close up, eliminating deep, naturalistic space and concentrating on the primacy of the flat, two-dimensional surface of the photograph. As a result of his experiments, he came to be interested in the photograph as a physical object in its own right, rather than as a reflection of the outside world. In 1947 Siskind exhibited his new work at the Egan Gallery in New York, where the paintings of the abstract expressionists were shown. He became friends with painter Franz Kline and other members of his circle and through their support published his first book, Aaron Siskind: Photographs (1959). In the 1950s Siskind also began to establish himself as a photography teacher. He gained his first experience as a part-time instructor at Trenton College (1949-51), then taught during the summer of 1951 at Black Mountain College in North Carolina. There he worked with Harry Callahan, who invited him to join the staff of the Institute of Design in Chicago. Siskind taught at the institute from 1951-71, when he left to join the Rhode Island School of Design where Callahan now headed the department of photography. Siskind continued to teach at the school until his retirement in 1976. Over the years Siskind remained interested in exploring the formal and abstract qualities of photography, becoming known for his closeup, abstracted views of rocks, peeling paint, bits of graffiti, torn signs, and other objects. He exhibited widely, and in 1982 his photographs were featured in a major retrospective, Aaron Siskind: Fifty Years, organized by the Center for Creative Photography, Tucson. M.M.", "name_in_original_language": null, "birth_year": "1903", "death_year": "1991", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 128, "description": "Antonio A. Fernandez (American, 1941-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Antonio A. Fernandez American, b. Cuba, 1941-\r\n\r\nHavana-born Antonio Alfonso Fernandez is an educator known for incorporating film and video in the classroom as an innovative teaching tool. He graduated from the University of Florida (B.A. in political science, 1963), where he was first introduced to photography by Jerry N. Uelsmann. After serving in the Peace Corps in Panama (1964-66), Fernandez returned to the United States to study photography and cinematography with Aaron Siskind, Arthur Siegel, Wynn Bullock, and Frederick Sommers at the Institute of Design, Illinois Institute of Technology (M.S., 1970). He continued his education, earning degrees in elementary education/language arts from Oakland University (M.A.T., 1972) and Michigan State University (Ph.D., 1978). He taught elementary school in several U.S. states before going on to teach educational media at the University of Manitoba (1976, 1977) and photography at Michigan State University (1976-78) and the New World School of the Arts (1987-90, 1993-present). Since 1978 he has taught education and photography at St. Thomas University in Miami.\r\n\tFernandez was included in the Contemporary Photographers exhibition at George Eastman House, Rochester (1968), and regularly exhibits his photography in Florida. Since 1987 he has used a series of black-and-white 35mm images, dubbed racetrack \"mug shots,\" to explore the myriad human emotions evoked by the activities of betting and watching horse races. He also works with medium- and large-format cameras. Fernandez lives in Hialeah. A.W.", "name_in_original_language": null, "birth_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 898, "description": "Arthur Siegel (American, 1913\u20131978)", "extent": null, "qualifier": null, "role": "artist", "biography": "Arthur Siegel American, 1913-1978\r\n\r\nArthur Siegel is best known for his influential role as a teacher at the Institute of Design, Illinois Institute of Technology, in Chicago, and for his experimental approach to photography. Born in Detroit, he became interested in photography in 1927 and, after studies at the University of Michigan and Wayne State University, worked as a freelance photographer. In 1937 Siegel received a scholarship to study at L\u00e1szl\u00f3 Moholy-Nagy's New Bauhaus in Chicago, where he created his first abstract photographs and established a longstanding relationship with the school. The following year he returned to Detroit and resumed his career as a commercial photographer.\r\n\tIn 1942 Siegel was hired as a photographer for the Office of War Information by Roy Stryker, for whom he had worked briefly earlier at the Farm Security Administration. After two years of war service as a photographer at an air corps base in Illinois (1944-46), Siegel was invited by Moholy-Nagy to establish and direct the photography department at the New Bauhaus, now called the Institute of Design. Over the years he worked with Harry Callahan and Aaron Siskind to develop one of the most influential photography programs in the country.\r\n\tIn the mid-1950s and early 1960s, Siegel focused on photojournalism, producing pictures for Time, Life, Fortune, and Sports Illustrated. He also became known for his skill as an architectural photographer and for his experiments with color photography. In the mid-1960s he returned to teaching full-time at the Institute of Design, becoming head of the photography program again in 1971. M.M.", "name_in_original_language": null, "birth_year": "1913", "death_year": "1978", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68, "description": "Barry Burlison (American, 1941-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Barry Burlinson American, 1941-\r\n\r\nBarry Burlinson, born in Norwich, New York, earned a B.S. in art education from the State University of New York at Buffalo (1963) and studied at the University of Siena and Siena Art Institute in Italy (1962) and the Institute of Design, Illinois Institute of Technology (1966-68), where his teachers included Aaron Siskind, Arthur Siegel, and Wynn Bullock. His experiments with solarization and manipulated printing techniques caught the interest of Nathan Lyons, who included a nude study by Burlinson in the 1969 exhibition Vision and Expression at George Eastman House, Rochester. Burlinson has since worked as a still and motion picture photographer for the city of Chicago. A.W.", "name_in_original_language": null, "birth_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 51, "description": "Constance Brenner (American, 1943-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Constance Brenner (Vieira da Cunha) American, 1943-\r\n\r\nConstance Brenner, now Constance Vieira da Cunha, is best known for her work and teaching in documentary photography. After earning a B.S. in design at the University of Michigan (1965), she studied under Aaron Siskind at the Institute of Design, Illinois Institute of Technology (M.S. in photography, 1970). From her early works with double exposures made in the camera to her later straight, documentary photography, Vieira da Cunha has been interested in capturing images of natural subjects that are depicted out of context. She describes her work as a \"surrealist\" study of that which transforms the view with the \"ambiance of traces of the past.\"\r\n\tVieira da Cunha (born in Buffalo, New York) has worked as a documentary photographer for the planning institute of Mexico (1973). Her images have been shown in one-artist exhibitions at the Museu de Artes Modernas, Rio de Janeiro (1978), and the Museu de Artes Modernas, S\u00e3o Paulo (1978), and published in Brazilian magazines such as Istoe and Iris. She has taught photography at City College of San Francisco (1973-76), Escola de Artes Visuais-Parque Lage, Rio de Janeiro (1977-80), the University of the District of Columbia (1986-91), and the Potomac School, McLean, Virginia (since 1994). She has also taught advanced documentary photography at Trinity College (1990-93) and the Corcoran Museum School of Art (since 1995). Vieira da Cunha lives in Washington, D.C. K.L.C.", "name_in_original_language": null, "birth_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 733, "description": "James Newberry (American, 1937-)", "extent": null, "qualifier": null, "role": "artist", "biography": "James Newberry American, 1937- Recognized for his early intriguing series of nudes and more recent series Changing Chicago, a social documentary project on immigrants, James Newberry (born in Indianapolis) studied at the Institute of Design, Illinois Institute of Technology (B.S., 1967; M.S., 1973). His work was widely published in various periodicals, including Creative Camera, the British Journal of Photography, Du, Swiss camera, and photo, and served as illustrations in numerous textbooks. Newberry was included by Nathan Lyons in Vision and Expression at George Eastman House, Rochester (1969), and in Points of Entry, a traveling exhibition organized by the Museum of Photographic Arts, San Diego (1995-97). He has had one-person exhibitions at the School of the Art Institute of Chicago (1972), the Photographer's Gallery, London (1972), and the Art Institute for the Permian Basin, Odessa, Texas (1988), and has received grants from the Focus/Infinity Fund (1987, 1988). Newberry has taught at Columbia College, where he was the founding chairperson of the department of photography (1967-75), and at East Texas State University (1979-95). He currently teaches at Collin County Community College and lives in Klondike, Texas. A.W.", "name_in_original_language": null, "birth_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 20, "description": "Jerry Aronson (American, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jerry Aronson American, 1945-\r\n\r\nJerry Aronson (born in New York City) became interested in psychology and photographic narrative while a student at Wayne State University (B.A. in psychology and photography, 1966). He studied with Aaron Siskind at the Institute of Design, Illinois Institute of Technology (M.S. in filmmaking and photography, 1969).\r\n\tSince 1968 Aronson has been an independent filmmaker, with a particular emphasis on biographical documentaries. He chooses complex subjects that offer a \"lesson in living,\" aiming to elicit compassion and understanding from his viewers. The Divided Trail (1978), which explores the complicated plight of Native Americans in urban society, earned Aronson an Academy Award nomination (1979), among other distinctions. He received grants from the National Endowment for the Arts and the Colorado Humanities Program for his 1993 production The Life and Times of Allen Ginsberg, which was screened in several venues, including the 1993 Sundance Film Festival. Aronson also directed a six-hour documentary miniseries for Turner Productions titled The Roots of Country Music (1995-96).\r\n\tAronson worked as cinematographer for the Museum of Contemporary Art, Chicago (1969-70), and as filmmaker-in-residence for the Colorado Arts Council (1975-77). He has taught film at Columbia College (1969-74) and at the University of Colorado (since 1972). Aronson lives in Boulder. A.W.", "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 92, "description": "Joe Crumley (American, 1940-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Joe Crumley American, 1940-\r\n\r\nJoe William Crumley (born in Blackwell, Oklahoma) is an active commercial photographer who worked as a military photographer for the U.S. Army Signal Corps from 1959-63. While in the army he began formal studies, earning a B.A. in art (1965) from Central State University and in 1967 completing a M.A. in painting at the State University of New York, where he studied with John Bromburg. He completed his education at the Institute of Design, Illinois Institute of Technology (M.S., 1970). \r\n\tCrumley taught photography at Daytona Beach Community College (1970-73), Oklahoma State University Technical Institute (1973-77), and South Community College (1977-80). He left teaching to open a commercial photographic studio (1980-87) and since 1987 has owned a graphic arts business specializing in illustrations, logos, and design. Crumley lives in Norman, Oklahoma. K.L.C.", "name_in_original_language": null, "birth_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 503, "description": "Joseph D. Jachna (American, 1935\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": "Joseph D. Jachna American, 1935-\r\n\r\nSimple, formal abstraction and technical precision characterize the black-and-white photography of Joseph David Jachna, who studied in Chicago with both Aaron Siskind and Harry Callahan during their tenure at the Institute of Design, Illinois Institute of Technology. Like Kenneth Josephson, his colleague at the institute, Jachna's early work raises conceptual questions regarding the self-reflexive nature of photographic representation. His studies of hands holding mirrors that both reflect and obscure their geographic backdrops typify his concerns regarding the imprint of humans on nature. It is an imposition he sees as ultimately transitory, like the staged photographic moments themselves.\r\n\tJachna got his start in photography working part-time for various commercial establishments in his native Chicago during the 1950s. He attended iit (B.S. in art education, 1958; M.S. in photography, 1961), teaching there after graduation and in 1969 joining the faculty at the University of Illinois, Chicago. Jachna has received a Ferguson Foundation Grant from the Friends of Photography (1973), the Silver Circle Award for Teaching from the University of Illinois, Chicago (1974), and fellowships from the National Endowment for the Arts (1976) and the John Simon Guggenheim Memorial Foundation (1980). His work has been shown in one-person exhibitions at the Art Institute of Chicago (1961), the University of Illinois, Chicago (1965, 1977), Nikon Photo Salon, Tokyo (1974), Chicago Center for Contemporary Photography (1980), Chicago State University (1985), and the University of Minnesota, Duluth (1986). He lives in Oak Lawn, Illinois. A.W.", "name_in_original_language": null, "birth_year": "1935", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 1052, "description": "Karin A. Vanek (American)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karin A. Vanek American, 1943-\r\n\r\nA photographer active in the late 1960s, Karin Vanek attended the Institute of Design, Illinois Institute of Technology (M.S. in photography, 1970). A.W.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 89, "description": "Linda S. Connor (American, 1944-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Linda S. Connor American, 1944 - \r\n\r\nBorn in New York City, Linda Connor decided to become a photographer in 1961 when she received the family's Argus CS camera. She studied with Harry Callahan at the Rhode Island School of Design (B.F.A., 1967) and with Aaron Siskind at the Institute of Design, Illinois Institute of Technology (M.S., 1969).\r\n\tConnor's earliest works were biographical photocollages into which she incorporated found imagery and hand-colored manipulations. She then began creating still-life arrangements, often inserting her own photographs into the tableaux. She has worked most extensively with the 8 x 10-inch view camera, and for her first images using this format employed a soft-focus lens handed down to her from a great-aunt who had used the apparatus when studying with the pictorialist Clarence H. White. Contact printed and gold-toned, Connor's architectural subjects and landscapes have a mysterious, antiquated ambience. The work was published as a monograph titled Solos (1979).\r\n\tRetaining the large format, Connor has shifted to a hard lens for her photographic explorations of sacred religious sites and artifacts. For this quest she has received fellowships from the National Endowment for the Arts (1976, 1988) and the John Simon Guggenheim Memorial Foundation (1979), an AT&T Photography Project Grant (1978), a Photographer of the Year Award from the Friends of Photography (1986), an Individual Artist Grant from the Marin Arts Council in California (1986), and the Charles Pratt Memorial Award (1988). This pursuit has also taken her around the globe -- from the Caribbean, Mexico, and Guatemala to Bali, Nepal, Tibet, and India.\r\n\tConnor has had one-person shows at the Corcoran Gallery of Art, Washington, D.C., and the Center for Creative Photography, Tucson (1982), and the Art Institute of Chicago and Gallery Min, Tokyo (1988). In 1990 the Museum of Contemporary Photography in Chicago organized a one-person exhibition of her work, Spiral Journey, with accompanying catalogue. Since 1992 she has been printing from found glass negatives depicting astronomical views, juxtaposing those images with her own in a diptych format. Connor lives in San Francisco, where she has taught photography since 1969 at the San Francisco Art Institute. A.W.", "name_in_original_language": null, "birth_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 853, "description": "Stephen Ryan (American, 1939-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Stephen Ryan American, 1939-\r\n\r\nStephen M. Ryan studied from 1968-73 at the Institute of Design, Illinois Institute of Technology, and was active as a photographer in the 1960s-70s. A.W.", "name_in_original_language": null, "birth_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 54, "description": "Thomas Brown (American, 1940-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Thomas Brown American, 1940-\r\n\r\nThomas M. Brown was active as a photographer in the 1960s, studying in Chicago at the Institute of Design, Illinois Institute of Technology. He completed his M.S. in photography in 1969. A.W.", "name_in_original_language": null, "birth_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-05-18T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "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": "2026-05-01 06:51:38.987000"}, {"id": 156086, "accession_number": "1991.328.1", "share_license_status": "Copyrighted", "tombstone": "Portfolio 6: Totem #1, 1968. Jerry Aronson (American, 1945-). Gelatin silver print; image: 19.2 x 9.2 cm (7 9/16 x 3 5/8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Thomas A. Mann, 1991.328.1", "current_location": null, "title": "Totem #1", "series": "Portfolio 6", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Portfolio", "measurements": "Image: 19.2 x 9.2 cm (7 9/16 x 3 5/8 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)", "dimensions": {"image": {"height": 0.192, "height_inch": 7, "height_inch_fraction": 0.5625, "width": 0.092, "width_inch": 3, "width_inch_fraction": 0.625}, "matted": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.356, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on recto of mount: \"Jerry Aronson [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. Thomas A. Mann", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "May 18, 1992", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1991.330"], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79945017"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 87", "url": ""}], "url": "https://clevelandart.org/art/1991.328.1", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Thomas A. Mann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156086, "creators": [{"id": 20, "description": "Jerry Aronson (American, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jerry Aronson American, 1945-\r\n\r\nJerry Aronson (born in New York City) became interested in psychology and photographic narrative while a student at Wayne State University (B.A. in psychology and photography, 1966). He studied with Aaron Siskind at the Institute of Design, Illinois Institute of Technology (M.S. in filmmaking and photography, 1969).\r\n\tSince 1968 Aronson has been an independent filmmaker, with a particular emphasis on biographical documentaries. He chooses complex subjects that offer a \"lesson in living,\" aiming to elicit compassion and understanding from his viewers. The Divided Trail (1978), which explores the complicated plight of Native Americans in urban society, earned Aronson an Academy Award nomination (1979), among other distinctions. He received grants from the National Endowment for the Arts and the Colorado Humanities Program for his 1993 production The Life and Times of Allen Ginsberg, which was screened in several venues, including the 1993 Sundance Film Festival. Aronson also directed a six-hour documentary miniseries for Turner Productions titled The Roots of Country Music (1995-96).\r\n\tAronson worked as cinematographer for the Museum of Contemporary Art, Chicago (1969-70), and as filmmaker-in-residence for the Colorado Arts Council (1975-77). He has taught film at Columbia College (1969-74) and at the University of Colorado (since 1972). Aronson lives in Boulder. A.W.", "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68267, "description": "Illinois Institute of Technology", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1992-05-18T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1991.328", "is_nazi_era_provenance": false, "impression": "41", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:38.995000"}, {"id": 157051, "accession_number": "1993.191", "share_license_status": "CC0", "tombstone": "Tinkers, 1882. William Strang (British, 1859\u20131921). Etching. The Cleveland Museum of Art, Gift of Charlotte Trenkamp in memory of Henry Trenkamp Jr., 1993.191", "current_location": null, "title": "Tinkers", "creation_date": "1882", "creation_date_earliest": 1882, "creation_date_latest": 1882, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79947267"], "internet_archive": ["https://archive.org/details/clevelandart-1993.191-tinkers"]}, "citations": [{"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. 166", "url": "http://www.jstor.org/stable/25161457"}], "catalogue_raisonne": "Binyon 9", "url": "https://clevelandart.org/art/1993.191", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1993.191/1993.191_web.jpg", "width": "1173", "height": "893", "filesize": "818894", "filename": "1993.191_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1993.191/1993.191_print.jpg", "width": "3400", "height": "2589", "filesize": "6035733", "filename": "1993.191_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1993.191/1993.191_full.tif", "width": "5098", "height": "3882", "filesize": "59404428", "filename": "1993.191_full.tif"}}, "alternate_images": [], "creditline": "Gift of Charlotte Trenkamp in memory of Henry Trenkamp Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157051, "creators": [{"id": 1447, "description": "William Strang (British, 1859\u20131921)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1859", "death_year": "1921", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-12-06T00:00:00", "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": "2026-05-01 06:51:45.760000"}, {"id": 157062, "accession_number": "1993.20", "share_license_status": "Copyrighted", "tombstone": "The Quarry, 1947. Hildegarde Haas (American, 1926-). Color woodcut. The Cleveland Museum of Art, Gift of Carole W. and Charles B. Rosenblatt, 1993.20", "current_location": null, "title": "The Quarry", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["female"], "culture": ["America"], "technique": "color woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79947295"], "internet_archive": []}, "citations": [{"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. 164", "url": "http://www.jstor.org/stable/25161457"}], "url": "https://clevelandart.org/art/1993.20", "images": {}, "alternate_images": [], "creditline": "Gift of Carole W. and Charles B. Rosenblatt", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157062, "creators": [{"id": 33192, "description": "Hildegarde Haas (American, 1926-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-02-17T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "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": "2026-05-01 06:51:45.861000"}, {"id": 159051, "accession_number": "1995.253", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1961. Ralph Gibson (American, 1939-). Gelatin silver print; image: 31.8 x 20.4 cm (12 1/2 x 8 1/16 in.); paper: 35.5 x 27.7 cm (14 x 10 7/8 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Gift of Adam Sutner, 1995.253. \u00a9 Ralph Gibson", "current_location": null, "title": "Untitled", "creation_date": "1961", "creation_date_earliest": 1961, "creation_date_latest": 1961, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 31.8 x 20.4 cm (12 1/2 x 8 1/16 in.); Paper: 35.5 x 27.7 cm (14 x 10 7/8 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.318, "height_inch": 12, "height_inch_fraction": 0.5, "width": 0.204, "width_inch": 8, "width_inch_fraction": 0.0625}, "paper": {"height": 0.355, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.277, "width_inch": 10, "width_inch_fraction": 0.875}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Ralph Gibson", "inscriptions": [{"inscription": "Written in pencil on verso: \"Ralph Gibson [signed]1961 9/25\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Adam Sutner, Ft. Lee, NJ", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 4, 1996", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978046"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 181", "url": ""}], "url": "https://clevelandart.org/art/1995.253", "images": {}, "alternate_images": [], "creditline": "Gift of Adam Sutner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159051, "creators": [{"id": 418, "description": "Ralph Gibson (American, 1939-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ralph Gibson American, 1939-\r\n\r\nRalph Gibson is best known for his photographic books. His images often incorporate fragments with erotic and mysterious undertones, building narrative meaning through surreal juxtaposition and contextualization. Characteristic of his sensibility is a trilogy, The Somnambulist (1970), D\u00e9j\u00e0-Vu (1973), and Days at Sea (1975), published by Lustrum Press, which Gibson founded in 1969. Other titles from his more than 15 published monographs include Syntax (1983), Tropism (1987), L'Anonyme (1987), and L'Histoire de France (1991), with an introduction by Marguerite Duras.\r\n\tBorn in Los Angeles, Gibson took up photography while serving in the U.S. Navy (1956\u201360), studied at the San Francisco Art Institute (1960\u201362), and later worked as an assistant to both Dorothea Lange and Robert Frank. With Frank, Gibson worked on the film Me and My Brother (1967\u201369) and as cameraman on Conversations in Vermont (1969). That same year he moved to New York City, where he established a studio and his press. Gibson has received fellowships from the National Endowment for the Arts (1973, 1975) and the John Simon Guggenheim Memorial Foundation (1985), a Deutscher Akademischer Austauschdienst (daad) Exchange, Berlin (1977), a New York Creative Artists Public Service Grant (1977), and a Grande Medaille de la Ville d'Arles (1994). He was made an Officier de l'Ordre des Arts et des Lettres by the French government (1986) and awarded an honorary doctorate from the University of Maryland (1991). Gibson divides his time between New York and France. A.W.", "name_in_original_language": null, "birth_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-03-04T00:00:00", "sortable_date": 1961, "date_added_to_oa": null, "date_text": "1961", "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": "9", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:00.541000"}, {"id": 159052, "accession_number": "1995.254", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1962. Ralph Gibson (American, 1939-). 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Russell Barnett Aitken Collection.Cleveland Museum of Art Archives.", "page_number": null, "url": "http://library.clevelandart.org/russell-barnett-aitken-collection"}], "url": "https://clevelandart.org/art/2013.358", "images": {}, "alternate_images": [], "creditline": "Gift of Irene Roosevelt Aitken", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170899, "creators": [{"id": 18625, "description": "Russell Barnett Aitken (American, 1910\u20132002)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1910", "death_year": "2002", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-03-03T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "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": "2026-05-01 06:53:24.204000"}, {"id": 171374, "accession_number": "2014.190", "share_license_status": "CC0", "tombstone": "Voyages pittoresques et romantiques dans l'ancienne France, Normandie:  Rue du Gros Horloge, Rouen, 1824. 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Allen Fund, 1924.399", "current_location": null, "title": "The Last of the Barons", "creation_date": "1855", "creation_date_earliest": 1855, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "wood engraving", "support_materials": [], "department": "Prints", "collection": "PR - Wood engraving", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79892727"], "internet_archive": ["https://archive.org/details/clevelandart-1924.399-the-last-of-the-baro"]}, "citations": [], "url": "https://clevelandart.org/art/1924.399", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1924.399/1924.399_web.jpg", "width": "688", "height": "893", "filesize": "509615", "filename": "1924.399_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1924.399/1924.399_print.jpg", "width": "2619", "height": "3400", "filesize": "6221505", "filename": "1924.399_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1924.399/1924.399_full.tif", "width": "4096", "height": "5317", "filesize": "65369028", "filename": "1924.399_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. 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Otto H. Bacher (American, 1856\u20131909). Etching. The Cleveland Museum of Art, Gift of the late Grace English Decker, 1924.815", "current_location": null, "title": "The Lido", "creation_date": "1880", "creation_date_earliest": 1880, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79893783"], "internet_archive": ["https://archive.org/details/clevelandart-1924.815-the-lido"]}, "citations": [], "catalogue_raisonne": "Andrew 29 Venetian Series", "url": "https://clevelandart.org/art/1924.815", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1924.815/1924.815_web.jpg", "width": "1263", "height": "876", "filesize": "926917", "filename": "1924.815_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1924.815/1924.815_print.jpg", "width": "2526", "height": "1752", "filesize": "3678013", "filename": "1924.815_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1924.815/1924.815_full.tif", "width": "2526", "height": "1752", "filesize": "13296660", "filename": "1924.815_full.tif"}}, "alternate_images": [], "creditline": "Gift of the late Grace English Decker", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 106792, "creators": [{"id": 3002, "description": "Otto H. Bacher (American, 1856\u20131909)", "extent": null, "qualifier": null, "role": "artist", "biography": "Painter and printmaker Otto Bacher was the first artist from Cleveland to earn international renown in the art world. Born in Cleveland, Bacher grew up in a neighborhood bordering the east bank of the Cuyahoga River near the mouth of Lake Erie. A childhood pastime of sketching shipping activities in the busy port eventually led to a job painting inscriptions on commercial vessels. He became interested in art during his teen years and studied with De Scott Evans and also learned from Willis Seaver Adams and Sion Wenban. In 1876 Bacher helped found the Art Club and had a solo show at the Kemmer and Kushman Decorating Company. The following year he had his second solo exhibition, at J. W. Sargeant\u2019 s Art Shop. He traveled to Europe in 1878, attended the Munich Royal Academy, and studied with Cincinnati native Frank Duveneck in Munich, Florence, and Venice. A chance meeting in Venice with James A. McNeill Whistler in 1880 led to a long friendship that had a decisive effect on Bacher\u2019 s etching style. In 1883 Bacher returned to Cleveland and began teaching at the Cleveland Academy of Art and privately at a summer retreat he organized in Richfield, Ohio. He returned to Europe in 1885, hoping to stay for an extended period, but his financial situation forced him to come back to America. After a brief visit to Cleveland, Bacher settled in New York City. To support himself, he did illustrations for <em>Century Magazine</em> in 1888. In 1895 he moved to Bronxville, New York, and by that time his artistic style revealed a strong debt to impressionism. During the last two decades of his life, he exhibited in New York, London, Paris, St. Louis, Philadelphia, and Cleveland. Bacher died in Bronxville.<br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 222.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1909", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1924-10-17T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880", "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": "2026-05-01 06:47:11.642000"}, {"id": 107311, "accession_number": "1925.1294", "share_license_status": "CC0", "tombstone": "Young Woman, 1849. F\u00e9licien Rops (Belgian, 1833\u20131898). Etching. The Cleveland Museum of Art, Gift of Mrs. Marie Sterner, 1925.1294", "current_location": null, "title": "Young Woman", "creation_date": "1849", "creation_date_earliest": 1844, "creation_date_latest": 1854, "artists_tags": ["male"], "culture": ["Belgium, 19th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79895042"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1294-young-woman"]}, "citations": [], "url": "https://clevelandart.org/art/1925.1294", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1294/1925.1294_web.jpg", "width": "891", "height": "893", "filesize": "587231", "filename": "1925.1294_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1294/1925.1294_print.jpg", "width": "3376", "height": "3384", "filesize": "6348249", "filename": "1925.1294_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1294/1925.1294_full.tif", "width": "3376", "height": "3384", "filesize": "34305588", "filename": "1925.1294_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Marie Sterner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107311, "creators": [{"id": 12361, "description": "F\u00e9licien Rops (Belgian, 1833\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1833", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-30T00:00:00", "sortable_date": 1844, "date_added_to_oa": null, "date_text": "1849", "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": "2026-05-01 06:47:15.128000"}, {"id": 109639, "accession_number": "1928.270", "share_license_status": "Copyrighted", "tombstone": "Americana Prints: Tugs (No. 722), 1927. Antonio Petruccelli (American, 1907\u20131994), Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955). Silk: plain weave, roller printed; overall: 52.7 x 99.7 cm (20 3/4 x 39 1/4 in.). The Cleveland Museum of Art, Gift of the Stehli Silks Corporation, 1928.270", "current_location": null, "title": "Tugs (No. 722)", "series": "Americana Prints", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "Silk: plain weave, roller printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 52.7 x 99.7 cm (20 3/4 x 39 1/4 in.)", "dimensions": {"overall": {"height": 0.527, "height_inch": 20, "height_inch_fraction": 0.75, "width": 0.997, "width_inch": 39, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002112"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1928.270", "images": {}, "alternate_images": [], "creditline": "Gift of the Stehli Silks Corporation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109639, "creators": [{"id": 56697, "description": "Antonio Petruccelli (American, 1907\u20131994)", "extent": null, "qualifier": null, "role": "artist", "biography": "Fifteen artists, most of whom were well-known for their advertising and illustration work and were established chroniclers of American life, were chosen by Stehli\u2019s art director Kneeland (Ruzzie) Green to design for Stehli\u2019s Americana Prints series. The exception to this was Antonio Petruccelli. When he designed <em>Tugs</em> for Stehli silks in 1927, Petrucelli was a young man not yet 20 years old; this was his only design for the Americana Prints series. He had been a student at New York Textile High School and in 1927 won first prize in a textile design contest sponsored by the Art Alliance of America. Designs in this competition were offered to textile manufacturers; it is assumed that this is how Petruccelli caught the attention of Ruzzie Green. Petruccelli went on to make a name in the graphic arts with covers for Fortune, Vanity Fair, Life, and the New Yorker magazines in the 1930s and 40s.", "name_in_original_language": null, "birth_year": "1907", "death_year": "1994", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 47400, "description": "Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955)", "extent": null, "qualifier": null, "role": "designed by", "biography": "Founded in 1837 in Obfelden, Switzerland, by the Stehli family, the original cotton mill transitioned to weaving silk in 1840. By the 1890s, half of the silk produced by Stehli was being shipped to the United States; at that point moving production closer to the customer base made economic sense. Stehli opened their first US mill in Lancaster, Pennsylvania, in 1898 and at the same time established an office in New York City, becoming one of the first American silk manufacturers. By the mid-1920s, Stehli operated five mills in three states\u2014Pennsylvania, Virginia, and North Carolina. In those two decades, Stehli\u2019s business increased fourteen fold. A significant product line was their three Americana Prints series of 1925-1927, under art director and artist Kneeland \u201cRuzzie\u201d Green. In a deliberate attempt to shift the silk industry away from traditional French design, the three series focused on imagery of contemporary American life. Fifteen well-known artists were commissioned to design 86 silk patterns.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1928-10-18T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "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": "2026-05-01 06:47:26.780000"}, {"id": 111068, "accession_number": "1929.559", "share_license_status": "CC0", "tombstone": "The Romancer, 1727. Charles-Nicolas Cochin (French, 1715\u20131790), after Jean-Antoine Watteau (French, 1684\u20131721). Engraving. The Cleveland Museum of Art, Dudley P. Allen Fund, 1929.559", "current_location": null, "title": "The Romancer", "creation_date": "1727", "creation_date_earliest": 1727, "creation_date_latest": 1727, "artists_tags": ["male"], "culture": ["France, 18th century"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80003225"], "internet_archive": ["https://archive.org/details/clevelandart-1929.559-the-romancer"]}, "citations": [], "catalogue_raisonne": "Por.&Ber.I.part II. 500. 14 / Dacier & Vuaflart III.7.4 / Fonds F.18th C IV.606.42", "url": "https://clevelandart.org/art/1929.559", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.559/1929.559_web.jpg", "width": "682", "height": "900", "filesize": "303994", "filename": "1929.559_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.559/1929.559_print.jpg", "width": "2578", "height": "3400", "filesize": "4582746", "filename": "1929.559_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.559/1929.559_full.tif", "width": "5531", "height": "7294", "filesize": "121060140", "filename": "1929.559_full.tif"}}, "alternate_images": [{"date_created": "2005-12-09T20:43:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.559/1929.559_alt0_web.jpg", "width": "667", "height": "893", "filesize": "504540"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.559/1929.559_alt0_print.jpg", "width": "2538", "height": "3400", "filesize": "6845752"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.559/1929.559_alt0_full.tif", "width": "3753", "height": "5027", "filesize": "56631008"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111068, "creators": [{"id": 19104, "description": "Charles-Nicolas Cochin (French, 1715\u20131790)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1715", "death_year": "1790", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 14067, "description": "Jean-Antoine Watteau (French, 1684\u20131721)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1684", "death_year": "1721", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1929-07-31T00:00:00", "sortable_date": 1727, "date_added_to_oa": null, "date_text": "1727", "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": "2026-05-01 06:47:31.032000"}, {"id": 112247, "accession_number": "1930.675.1", "share_license_status": "Copyrighted", "tombstone": "In a French Caf\u00e9: Cancelled Impression from First Stone, 1930. William S. Gisch (American, 1906\u20131989). Lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1930.675.1", "current_location": null, "title": "In a French Caf\u00e9: Cancelled Impression from First Stone", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80004813"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1930.675.1", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112247, "creators": [{"id": 15121, "description": "William S. Gisch (American, 1906\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": null, "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1930.675", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:47:36.399000"}, {"id": 112252, "accession_number": "1930.679.1", "share_license_status": "Copyrighted", "tombstone": "In a French Caf\u00e9: Cancelled Impression from Second Stone, 1930. William S. Gisch (American, 1906\u20131989). Lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1930.679.1", "current_location": null, "title": "In a French Caf\u00e9: Cancelled Impression from Second Stone", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80004826"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1930.679.1", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112252, "creators": [{"id": 15121, "description": "William S. Gisch (American, 1906\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-12-09T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1930.679", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:47:36.432000"}, {"id": 113103, "accession_number": "1932.124.b", "share_license_status": "Copyrighted", "tombstone": "Medal: Whatsoever a Man Soweth That Shall He Also Reap (reverse), 1900. Lee Oskar Lawrie (American, 1877\u20131961). Bronze; diameter: 7.4 cm (2 15/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1932.124.b", "current_location": null, "title": "Medal: Whatsoever a Man Soweth That Shall He Also Reap (reverse)", "creation_date": "1900", "creation_date_earliest": 1900, "creation_date_latest": 1999, "artists_tags": ["male"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "Diameter: 7.4 cm (2 15/16 in.)", "dimensions": {"diameter": {"width": 0.074, "width_inch": 2, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "above: \"THAT SHALL HE ALSO REAP.\"  On edge:  \"The Society of Medalists Fifth Issue.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005641"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1932.124.b", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 113103, "creators": [{"id": 17533, "description": "Lee Oskar Lawrie (American, 1877\u20131961)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1877", "death_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1932-10-20T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1932.124", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:47:39.645000"}, {"id": 117031, "accession_number": "1937.576", "share_license_status": "Copyrighted", "tombstone": "Home Again, 1937. Hyman Goldstein (American, 1915-). Watercolor. 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Millard Sheets (American, 1907\u20131989). Oil on canvas; unframed: 101.5 x 127 cm (39 15/16 x 50 in.). The Cleveland Museum of Art, Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1938.133", "current_location": null, "title": "Women of Cartagena", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 101.5 x 127 cm (39 15/16 x 50 in.)", "dimensions": {"unframed": {"height": 1.015, "height_inch": 39, "height_inch_fraction": 0.9375, "width": 1.27, "width_inch": 50, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"MILLARD SHEETS. 1930\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["590.34"], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514029"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1938.133", "images": {}, "alternate_images": [], "creditline": "Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117469, "creators": [{"id": 3279, "description": "Millard Sheets (American, 1907\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1907", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-06-03T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "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": "2026-05-01 06:47:57.805000"}, {"id": 117489, "accession_number": "1938.151", "share_license_status": "CC0", "tombstone": "Catalogue of My Paintings at J. W. Sargents, Cleveland, December 17th, 1877, 1877. Otto H. Bacher (American, 1856\u20131909). Etching. The Cleveland Museum of Art, Gift of Mrs. Otto Henry Bacher, 1938.151", "current_location": null, "title": "Catalogue of My Paintings at J. W. Sargents, Cleveland, December 17th, 1877", "creation_date": "1877", "creation_date_earliest": 1877, "creation_date_latest": 1877, "artists_tags": ["male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80012039"], "internet_archive": ["https://archive.org/details/clevelandart-1938.151-catalogue-of-my-pain"]}, "citations": [], "catalogue_raisonne": "Andrew 5 Cleveland Series", "url": "https://clevelandart.org/art/1938.151", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1938.151/1938.151_web.jpg", "width": "585", "height": "893", "filesize": "397861", "filename": "1938.151_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1938.151/1938.151_print.jpg", "width": "2226", "height": "3400", "filesize": "5093852", "filename": "1938.151_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1938.151/1938.151_full.tif", "width": "3274", "height": "5000", "filesize": "49138252", "filename": "1938.151_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Otto Henry Bacher", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117489, "creators": [{"id": 3002, "description": "Otto H. Bacher (American, 1856\u20131909)", "extent": null, "qualifier": null, "role": "artist", "biography": "Painter and printmaker Otto Bacher was the first artist from Cleveland to earn international renown in the art world. Born in Cleveland, Bacher grew up in a neighborhood bordering the east bank of the Cuyahoga River near the mouth of Lake Erie. A childhood pastime of sketching shipping activities in the busy port eventually led to a job painting inscriptions on commercial vessels. He became interested in art during his teen years and studied with De Scott Evans and also learned from Willis Seaver Adams and Sion Wenban. In 1876 Bacher helped found the Art Club and had a solo show at the Kemmer and Kushman Decorating Company. The following year he had his second solo exhibition, at J. W. Sargeant\u2019 s Art Shop. He traveled to Europe in 1878, attended the Munich Royal Academy, and studied with Cincinnati native Frank Duveneck in Munich, Florence, and Venice. A chance meeting in Venice with James A. McNeill Whistler in 1880 led to a long friendship that had a decisive effect on Bacher\u2019 s etching style. In 1883 Bacher returned to Cleveland and began teaching at the Cleveland Academy of Art and privately at a summer retreat he organized in Richfield, Ohio. He returned to Europe in 1885, hoping to stay for an extended period, but his financial situation forced him to come back to America. After a brief visit to Cleveland, Bacher settled in New York City. To support himself, he did illustrations for <em>Century Magazine</em> in 1888. In 1895 he moved to Bronxville, New York, and by that time his artistic style revealed a strong debt to impressionism. During the last two decades of his life, he exhibited in New York, London, Paris, St. Louis, Philadelphia, and Cleveland. Bacher died in Bronxville.<br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 222.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1909", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-05-02T00:00:00", "sortable_date": 1877, "date_added_to_oa": null, "date_text": "1877", "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": "2026-05-01 06:47:57.940000"}, {"id": 117539, "accession_number": "1938.203", "share_license_status": "Copyrighted", "tombstone": "American Artists Group, Series I: The Gordian Knot, 1936. Federico Castellon (American, 1914\u20131971). Lithograph. The Cleveland Museum of Art, Gift of George W. Sanford, 1938.203", "current_location": null, "title": "The Gordian Knot", "series": "American Artists Group, Series I", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80012077"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Freundlich 1", "url": "https://clevelandart.org/art/1938.203", "images": {}, "alternate_images": [], "creditline": "Gift of George W. Sanford", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117539, "creators": [{"id": 14234, "description": "Federico Castellon (American, 1914\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1914", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-06-03T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "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": "2026-05-01 06:47:58.057000"}, {"id": 118544, "accession_number": "1939.577", "share_license_status": "CC0", "tombstone": "Pope's Villa, Twickenham, 1828. Charles Bentley (British, 1808\u20131854). Aquatint. The Cleveland Museum of Art, Gift of Robert Hays Gries, 1939.577", "current_location": null, "title": "Pope's Villa, Twickenham", "creation_date": "1828", "creation_date_earliest": 1828, "creation_date_latest": 1828, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Aquatint", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80013441"], "internet_archive": ["https://archive.org/details/clevelandart-1939.577-pope-s-villa-twicken"]}, "citations": [], "url": "https://clevelandart.org/art/1939.577", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1939.577/1939.577_web.jpg", "width": "1214", "height": "893", "filesize": "836151", "filename": "1939.577_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1939.577/1939.577_print.jpg", "width": "3400", "height": "2501", "filesize": "6596508", "filename": "1939.577_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1939.577/1939.577_full.tif", "width": "5239", "height": "3853", "filesize": "60588368", "filename": "1939.577_full.tif"}}, "alternate_images": [], "creditline": "Gift of Robert Hays Gries", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118544, "creators": [{"id": 26903, "description": "Charles Bentley (British, 1808\u20131854)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1808", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-12-19T00:00:00", "sortable_date": 1828, "date_added_to_oa": null, "date_text": "1828", "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": "2026-05-01 06:48:02.971000"}, {"id": 118903, "accession_number": "1940.1103", "share_license_status": "CC0", "tombstone": "Chronicles of France:  Scene of the Fronde - The Prince of Cond\u00e9, 1829. Eug\u00e8ne Fran\u00e7ois Marie Joseph Dev\u00e9ria (French, 1805\u20131865), and Achille Dev\u00e9ria (French, 1800\u20131857). Lithograph. The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1940.1103", "current_location": null, "title": "Chronicles of France:  Scene of the Fronde - The Prince of Cond\u00e9", "creation_date": "1829", "creation_date_earliest": 1829, "creation_date_latest": 1829, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80013960"], "internet_archive": ["https://archive.org/details/clevelandart-1940.1103-chronicles-of-france"]}, "citations": [], "catalogue_raisonne": "Beraldi vol.V.p.211", "url": "https://clevelandart.org/art/1940.1103", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.1103/1940.1103_web.jpg", "width": "681", "height": "893", "filesize": "460363", "filename": "1940.1103_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.1103/1940.1103_print.jpg", "width": "2591", "height": "3400", "filesize": "6704802", "filename": "1940.1103_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.1103/1940.1103_full.tif", "width": "3920", "height": "5144", "filesize": "60524896", "filename": "1940.1103_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. 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Gustav Karl Friedrich L\u00fcderitz (German, 1803\u20131884). Lithograph. The Cleveland Museum of Art, Mr. and Mrs. Lewis B. 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Holden Fund, 1966.339", "current_location": null, "title": "The Fianc\u00e9e of the King of Garbe", "creation_date": "1800", "creation_date_earliest": 1800, "creation_date_latest": 0, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042464"], "internet_archive": ["https://archive.org/details/clevelandart-1966.339-the-fiancee-of-the-k"]}, "citations": [], "catalogue_raisonne": "Inv. du fonds fran\u00e7ais apr\u00e8s 1800, X.357", "url": "https://clevelandart.org/art/1966.339", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.339/1966.339_web.jpg", "width": "647", "height": "893", "filesize": "452685", "filename": "1966.339_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.339/1966.339_print.jpg", "width": "2464", "height": "3400", "filesize": "6178235", "filename": "1966.339_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.339/1966.339_full.tif", "width": "3546", "height": "4893", "filesize": "52083104", "filename": "1966.339_full.tif"}}, "alternate_images": [], "creditline": "L. 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August Biehle, Jr. (American, 1885\u20131979). Gouache over graphite; sheet: 48.2 x 31.6 cm (19 x 12 7/16 in.); secondary support: 54.4 x 38.1 cm (21 7/16 x 15 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1977.1015", "current_location": null, "title": "Ornamental Design with Birds and Butterfly", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["Cleveland Institute of Art", "May Show"], "culture": ["America, Ohio, Cleveland"], "technique": "Gouache over graphite", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "measurements": "Sheet: 48.2 x 31.6 cm (19 x 12 7/16 in.); Secondary Support: 54.4 x 38.1 cm (21 7/16 x 15 in.)", "dimensions": {"sheet": {"height": 0.482, "height_inch": 19, "height_inch_fraction": 0.0, "width": 0.316, "width_inch": 12, "width_inch_fraction": 0.4375}, "secondary support": {"height": 0.544, "height_inch": 21, "height_inch_fraction": 0.4375, "width": 0.381, "width_inch": 15, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Lower right, in graphite: AUG. F BIEHLE 1906\r\nVerso, center, in black ink: August F. Biehle / 6906 - Renwood Dr. / Parma.29 - Ohio\r\nVerso, center, in blue ink: Painted about 1907\r\nVerso, secondary support, center, in black ink: August F. Biehle / 6906 Renwood Dr. / Parma, 29 - OHIO / Painted about 1907; verso, secondary support, lower left, in graphite: 77.1015 / TR 1632/1  / TR 656/39\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Frederick A. Biehle (artist's son), 5191 Dogwood Trail, Lyndhurst, OH 44124", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "TR 16323/1 of May 4, 1977 on file", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929517"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1977.1015", "images": {}, "alternate_images": [], "creditline": "The Harold T. 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August Biehle, Jr. (American, 1885\u20131979). Watercolor, gouache, and black ink with touches of yellow chalk; underdrawing in black chalk and graphite ; sheet: 60.5 x 50.6 cm (23 13/16 x 19 15/16 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1978.1040", "current_location": null, "title": "Plant Study", "creation_date": "1905", "creation_date_earliest": 1905, "creation_date_latest": 1905, "artists_tags": ["Cleveland Institute of Art", "May Show"], "culture": ["America, Ohio, Cleveland"], "technique": "Watercolor, gouache, and black ink with touches of yellow chalk; underdrawing in black chalk and graphite ", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "measurements": "Sheet: 60.5 x 50.6 cm (23 13/16 x 19 15/16 in.)", "dimensions": {"sheet": {"height": 0.605, "height_inch": 23, "height_inch_fraction": 0.8125, "width": 0.506, "width_inch": 19, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Upper right, in graphite: 10\r\nLower right, in graphite: ABIEHLE / 05\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79930204"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1978.1040", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149236, "creators": [{"id": 545786, "description": "August Biehle, Jr. (American, 1885\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1885", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "1905", "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": "2026-05-01 06:50:57.379000"}, {"id": 149237, "accession_number": "1978.1041", "share_license_status": "Copyrighted", "tombstone": "Pine Branch, 1905. August Biehle, Jr. (American, 1885\u20131979). Watercolor, gouache, black ink with graphite underdrawing; sheet: 59.1 x 46.9 cm (23 1/4 x 18 7/16 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1978.1041", "current_location": null, "title": "Pine Branch", "creation_date": "1905", "creation_date_earliest": 1905, "creation_date_latest": 1905, "artists_tags": ["Cleveland Institute of Art", "May Show"], "culture": ["America, Ohio, Cleveland"], "technique": "Watercolor, gouache, black ink with graphite underdrawing", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "measurements": "Sheet: 59.1 x 46.9 cm (23 1/4 x 18 7/16 in.)", "dimensions": {"sheet": {"height": 0.591, "height_inch": 23, "height_inch_fraction": 0.25, "width": 0.469, "width_inch": 18, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Center right, in black ink over graphite: BiEHLE JANUAR 05\r\nUpper right, in graphite: 8\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79930208"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1978.1041", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149237, "creators": [{"id": 545786, "description": "August Biehle, Jr. (American, 1885\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1885", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "1905", "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": "2026-05-01 06:50:57.386000"}, {"id": 150227, "accession_number": "1981.1033", "share_license_status": "Copyrighted", "tombstone": "Study of Wings, 1905. August Biehle, Jr. (American, 1885\u20131979). Graphite with purple-gray watercolor; sheet: 57.2 x 40.3 cm (22 1/2 x 15 7/8 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1981.1033", "current_location": null, "title": "Study of Wings", "creation_date": "1905", "creation_date_earliest": 1905, "creation_date_latest": 1905, "artists_tags": ["Cleveland Institute of Art", "May Show"], "culture": ["America, Ohio, Cleveland"], "technique": "Graphite with purple-gray watercolor", "support_materials": [], "department": "Drawings", "collection": "DR - American - Cleveland School", "type": "Drawing", "measurements": "Sheet: 57.2 x 40.3 cm (22 1/2 x 15 7/8 in.)", "dimensions": {"sheet": {"height": 0.572, "height_inch": 22, "height_inch_fraction": 0.5, "width": 0.403, "width_inch": 15, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Center, in graphite: ABIEHLE", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932473"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1981.1033", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150227, "creators": [{"id": 545786, "description": "August Biehle, Jr. (American, 1885\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1885", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-12-08T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "1905", "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": ["Untitled - Study"], "is_highlight": false, "updated_at": "2026-05-01 06:51:03.580000"}, {"id": 151324, "accession_number": "1983.167.8", "share_license_status": "Copyrighted", "tombstone": "Image Resource Center Portfolio:  Untitled, 1982. Paul Jacklitch (American, b.1961). Electrostatic print. The Cleveland Museum of Art, Gift of The Print Club of Cleveland and gift of Mr. and Mrs. Sidney D. Josephs in honor of Dr. and Mrs. Gerard Seltzer's 30th Anniversary, 1983.167.8", "current_location": null, "title": "Image Resource Center Portfolio:  Untitled", "creation_date": "1982", "creation_date_earliest": 1982, "creation_date_latest": 1982, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "electrostatic print", "support_materials": [], "department": "Prints", "collection": "PR - Computer", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79934649"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1983.167.8", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland and gift of Mr. and Mrs. Sidney D. Josephs in honor of Dr. and Mrs. Gerard Seltzer's 30th Anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151324, "creators": [{"id": 30313, "description": "Paul Jacklitch (American, b.1961)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-10-12T00:00:00", "sortable_date": 1982, "date_added_to_oa": null, "date_text": "1982", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1983.167", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:10.481000"}, {"id": 155825, "accession_number": "1991.138", "share_license_status": "Copyrighted", "tombstone": "Vase, 1911. Rookwood Pottery Company (American, established 1880), William E. Hentschel (American, 1907\u20131939). Earthenware; diameter: 10.2 cm (4 in.); overall: 19.1 cm (7 1/2 in.). The Cleveland Museum of Art, Gift of Ellen Laws Burwig and Elmer F. Burwig, 1991.138", "current_location": null, "title": "Vase", "creation_date": "1911", "creation_date_earliest": 1911, "creation_date_latest": 1911, "artists_tags": ["male", "gender unknown"], "culture": ["America"], "technique": "earthenware", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Diameter: 10.2 cm (4 in.); Overall: 19.1 cm (7 1/2 in.)", "dimensions": {"diameter": {"width": 0.102, "width_inch": 4, "width_inch_fraction": 0.0}, "overall": {"height": 0.191, "height_inch": 7, "height_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "incised mark of William E. Hentschel: \"WEH\" [in monogram.]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944292"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1991.138", "images": {}, "alternate_images": [], "creditline": "Gift of Ellen Laws Burwig and Elmer F. Burwig", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155825, "creators": [{"id": 19542, "description": "Rookwood Pottery Company (American, established 1880)", "extent": null, "qualifier": null, "role": "made by", "biography": "one of the most important factories for art pottery in the USA, founded in Cincinnati in 1880 by Mrs. Maria Nichols (later Mrs. Storer) with financial support from her father, Joseph Longworth, a rich patron of the arts. Named after their family home.", "name_in_original_language": null, "birth_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 20029, "description": "William E. Hentschel (American, 1907\u20131939)", "extent": null, "qualifier": null, "role": "decorated by", "biography": null, "name_in_original_language": null, "birth_year": "1907", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911", "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": "2026-05-01 06:51:36.893000"}, {"id": 157551, "accession_number": "1994.83", "share_license_status": "Copyrighted", "tombstone": "John Henry's Hand, 1935. Fred Becker (American, 1913-). Wood engraving. The Cleveland Museum of Art, John L. Severance Fund, 1994.83", "current_location": null, "title": "John Henry's Hand", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["male"], "culture": ["America"], "technique": "wood engraving", "support_materials": [], "department": "Prints", "collection": "PR - Wood engraving", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79974015"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1994.83", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157551, "creators": [{"id": 33465, "description": "Fred Becker (American, 1913-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1913", "death_year": "2004", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-05-24T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935", "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": "2026-05-01 06:51:49.472000"}, {"id": 157777, "accession_number": "1995.199.15", "share_license_status": "Copyrighted", "tombstone": "Camera Work: Number 15, July 1906, 1906. Alvin Langdon Coburn (British, 1882\u20131966), George Bernard Shaw (British, 1856\u20131950), George H. Seeley (American, 1880\u20131955). Photogravure. The Cleveland Museum of Art, Museum Appropriation, 1995.199.15", "current_location": null, "title": "Camera Work: Number 15, July 1906", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975004"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.15", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157777, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 36232, "description": "George Bernard Shaw (British, 1856\u20131950)", "extent": null, "qualifier": null, "role": "artist", "biography": "Famed playwright, novelist, and critic George Bernard Shaw was born in Dublin and moved to England in 1876. He first took up photography in 1898, pursuing it with enthusiasm for the rest of his life. His earliest images, taken with a Kodak box camera, were casual shots of people, places, and pets, pictures characteristic of many amateur photographers. He soon moved on to a Sanderson field camera and over the years experimented with a variety of cameras and lenses.\r\n\r\nDuring the first decade of the 20th century, Shaw was especially active in the field of photog-raphy, producing platinum prints and writing essays in support of the medium as an art form. Most of these articles originally appeared in Amateur Photographer magazine between 1901-9. They were often reprinted in other publications, including Alfred Stieglitz's journal Camera Work. Stieglitz also reproduced one of Shaw's portraits of photographer Alvin Langdon Coburn in the July 1906 issue. Earlier, Shaw had written two short reviews of photographic exhibitions for the World (in 1887 and 1888, when he was the publication's art critic). He also delivered many lectures on photography and became close friends with Coburn and another leading British photographer, Frederick H. Evans.\r\n\r\nOver the years Shaw produced thousands of images, most of which were never published or exhibited. Several exceptions include his auto-chromes of the ruins of a 14th-century church in his village of Ayot St. Lawrence, which was in-cluded in a special summer number (Color Pho-tography and Other Recent Developments of the Camera) of the Studio (1908), a group of eight photographs reproduced in the Countryman (April 1937), a collection of more than 30 pic-tures that appeared in F. E. Loewenstein's book Bernard Shaw Through the Camera (1948), and Shaw's views of his village, which he published in a guidebook shortly before his death.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1950", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 874, "description": "George H. Seeley (American, 1880\u20131955)", "extent": null, "qualifier": null, "role": "artist", "biography": "George H. Seeley American, 1880-1955\r\n\r\nThe reclusive photographer George Henry Seeley spent virtually his entire life in his native Stockbridge, Massachusetts. Unlike many of his peers, he sought neither notoriety nor public adulation. His only extended absence was during his enrollment in the Massachusetts Normal Art School in Boston, where he briefly studied painting and modeling. Returning in 1902, Seeley became supervisor of art in the Stockbridge public schools, and later a correspondent for a regional newspaper, the Springfield Republic. He devoted himself to photography and painting, becoming a notable still-life painter in his later years. He also held a longstanding proprietary role in the local Congregational church and was an authority on birds, maintaining a landing station and recording migratory patterns for the Biological Survey, based in Washington D.C.\r\n\tAs a photographer, Seeley turned down several professional offers that would have required him to move. He had presumably experimented with photography by 1902, when he visited the studio of F. Holland Day, who further encouraged him. The following year he received several substantial awards from Photo-Era magazine. In 1904 his 20 prints shown at the First American Salon in New York drew considerable praise, notably that of Alvin Langdon Coburn, who is believed to have introduced Seeley's work to Alfred Stieglitz. Seeley was a member of both the Photo-Secession and the Salon Club of America. Although shown and published by Stieglitz, he preferred the attitudes and subjects of small-town life over the shifting politics of the world of organized photography. T.W.F.", "name_in_original_language": null, "birth_year": "1880", "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1995.199", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:51.285000"}, {"id": 157778, "accession_number": "1995.199.15.a", "share_license_status": "Copyrighted", "tombstone": "Camera Work: Wier's Close - Edinburgh, 1906. Alvin Langdon Coburn (British, 1882\u20131966). Photogravure. The Cleveland Museum of Art, Museum Appropriation, 1995.199.15.a", "current_location": null, "title": "Camera Work: Wier's Close - Edinburgh", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975006"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.15.a", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157778, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1995.199", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:51.291000"}, {"id": 157779, "accession_number": "1995.199.15.b", "share_license_status": "Copyrighted", "tombstone": "Camera Work: The Bridge - Sunlight, 1906. Alvin Langdon Coburn (British, 1882\u20131966). Photogravure. The Cleveland Museum of Art, Museum Appropriation, 1995.199.15.b", "current_location": null, "title": "Camera Work: The Bridge - Sunlight", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975008"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.15.b", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157779, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. 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The Cleveland Museum of Art, Museum Appropriation, 1995.199.15.c", "current_location": null, "title": "Camera Work: After the Blizzard", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975011"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.15.c", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157780, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. 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The Cleveland Museum of Art, Museum Appropriation, 1995.199.15.d", "current_location": null, "title": "Camera Work: Decorative Study", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975013"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.15.d", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157781, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. 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The Cleveland Museum of Art, Museum Appropriation, 1995.199.15.e", "current_location": null, "title": "Camera Work: The Bridge - London", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975015"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.15.e", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157782, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1995.199", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:51.315000"}, {"id": 157818, "accession_number": "1995.199.2", "share_license_status": "Copyrighted", "tombstone": "Camera Work: Number 2, April 1903, 1903. Edward Steichen (American, 1879\u20131973). Photogravure. The Cleveland Museum of Art, Museum Appropriation, 1995.199.2. \u00a9 The Estate of Edward Steichen / Artists Rights Society (ARS), New York", "current_location": null, "title": "Camera Work: Number 2, April 1903", "creation_date": "1903", "creation_date_earliest": 1903, "creation_date_latest": 1903, "artists_tags": ["male"], "culture": ["20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Edward Steichen / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975099"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.2", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157818, "creators": [{"id": 941, "description": "Edward Steichen (American, 1879\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Edward Steichen American, b. Luxembourg, 1879-1973\r\n\r\nHis long and illustrious career places Edward Steichen among the major figures of 20th-century photography. Born Eduard Jean Steichen in Luxembourg, Steichen moved with his family to the United States in 1881, was naturalized a citizen in 1900, and changed the spelling of his first name in 1918. Educated in Wisconsin, he showed an early interest in art. He studied at the Milwaukee Art Students League and was an apprentice lithographer; later he studied painting at the Acad\u00e9mie Julian in Paris.\r\n\tSteichen took his first photograph in 1896. Early recognition came in the Second Philadelphia Salon of 1899, and he was encouraged by Clarence H. White. Shortly thereafter, while on his way to Europe, he met Alfred Stieglitz, who bought three of his prints. In 1900 he participated in the New School of American Photography exhibition in London. Steichen's first one-person show, which included paintings as well as photographs, was held in Paris in 1902. He helped to found the Photo-Secession and played an important role in the life and design of its galleries, programs, and publications, including the decision to exhibit international works in a variety of media.\r\n\tSteichen was the commander of aerial photography for the American Expeditionary Forces during the First World War. After the war, he became chief photographer for Vogue and Vanity Fair, and a well-known portraitist. During World War II he was in charge of all navy combat photography and was also responsible for the exhibitions Road to Victory (1942) and Power in the Pacific (1945) at the Museum of Modern Art, New York. These, along with his 1955 show, The Family of Man, established a new, more popular form of photographic exhibition. In 1947 he was made director of the museum's department of photography, a position he held until 1962.\r\n\tIn 1961 the Museum of Modern Art mounted a retrospective of Steichen's work. 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United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. 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United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. 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American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 784, "description": "William B. Post (American, 1857\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "William B. Post American, 1857-1925\r\n\r\nBorn in New York City, William B. Post was a member of the Photo-Secession and one of only 10 lifetime members of New York's Society of Amateur Photographers. Today, he is perhaps best known for introducing Alfred Stieglitz to the hand camera in 1892.\r\n\tIn the decades around the turn of the century, Post exhibited his photographs frequently in the United States, Canada, and Europe. His images were reproduced in Camera Notes (1901) and Camera Work (1904), and he assembled one of the earliest collections of the work of his pictorialist peers. 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United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. 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The Cleveland Museum of Art, Museum Appropriation, 1995.199.6.c", "current_location": null, "title": "Camera Work: Mother and Child - A Study", "creation_date": "1904", "creation_date_earliest": 1904, "creation_date_latest": 1904, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975859"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.6.c", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 158130, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. 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The Cleveland Museum of Art, Museum Appropriation, 1995.199.6.d", "current_location": null, "title": "Camera Work: The Bridge - Ipswich", "creation_date": "1904", "creation_date_earliest": 1904, "creation_date_latest": 1904, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975862"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.6.d", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 158131, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. 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The Cleveland Museum of Art, Museum Appropriation, 1995.199.6.e", "current_location": null, "title": "Camera Work: House on the Hill", "creation_date": "1904", "creation_date_earliest": 1904, "creation_date_latest": 1904, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975864"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.6.e", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 158132, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. 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American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "1904", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1995.199", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:53.964000"}, {"id": 158138, "accession_number": "1995.199.8", "share_license_status": "Copyrighted", "tombstone": "Camera Work: Number 8, October 1904, 1904. Alvin Langdon Coburn (British, 1882\u20131966), Frederick H. Evans (British, 1853\u20131943), J. Craig Annan (British, 1864\u20131946). Photogravure. The Cleveland Museum of Art, Museum Appropriation, 1995.199.8", "current_location": null, "title": "Camera Work: Number 8, October 1904", "creation_date": "1904", "creation_date_earliest": 1904, "creation_date_latest": 1904, "artists_tags": ["male"], "culture": ["20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - Photogravure", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79975878"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.199.8", "images": {}, "alternate_images": [], "creditline": "Museum Appropriation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 158138, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 119, "description": "Frederick H. Evans (British, 1853\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": "Frederick H. Evans British, 1853-1943\r\n\r\nBorn in Whitechapel, London, Frederick Evans was the preeminent architectural photographer of his day, known particularly for his views of British cathedrals. He was also known for portraiture, with sitters such as George Bernard Shaw and Aubrey Beardsley.\r\n\tOriginally a London bookseller, Evans retired in 1898 to devote himself full-time to photography. He was a passionate devotee of straight, or pure, photography. His elegant, unaltered platinum prints relied on form and light to probe the spiritual elements of architectural space and to reveal the character and nuance of the subjects of his portraits. Evans, who exhibited his work widely, extended his aesthetic beliefs to the realm of display; he is credited with transforming British exhibition practice -- the crowded Victorian salon giving way to a venue where prints were shown singly and clearly, out of competition with one another.\r\n\tAlfred Stieglitz was a great admirer of Evans's work, which was published in Camera Work (1903) and shown at the Little Galleries of the Photo-Secession in New York (1906). A member of the Royal Photographic Society, Evans was named an Honorary Fellow in 1925 and was elected to the Linked Ring in 1900. T.W.F.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 19936, "description": "J. Craig Annan (British, 1864\u20131946)", "extent": null, "qualifier": null, "role": "artist", "biography": "J. Craig Annan British, b. Scotland, 1864-1946 J. Craig Annan was the son of Thomas Annan (1829-1887), one of Scotland's important early photographers who was known especially for his documentary work in Glasgow's slums. Thomas Annan was a master of the gravure process and a friend of pioneering photographer David Octavius Hill. Both father and son learned the techniques of photogravure in Vienna from its inventor, Karel Kli . Bringing the process back to Britain, they became photographers and photoengravers to Queen Victoria. Along with his brother John, also a photographer, J. Craig worked at the family's successful printing business, T. &amp; R. Annan and Sons, for some 35 years. Inspired by impressionism, James Abbott McNeill Whistler, and Japanese prints, Annan embraced pictorialism in his own work and was one of the first to experiment with a hand-held camera. He corresponded with Alfred Stieglitz, sending examples of the work of David Octavius Hill and Robert Adamson, which led to their publication in Camera Work. He also supplied his own photogravures, as well as those of other British photographers, for inclusion in Stieglitz's magazines. A leading professional portrait photographer, Annan was also known for his outdoor figures and pastoral settings influenced by the Barbizon School. He exhibited widely, including a one-person retrospective at London's Royal Photographic Society. He was a member of the Linked Ring and first president of the International Society of Pictorial Photographers, as well as an active member of many other photographic and cultural organizations. He was made an Honorary Fellow of the Royal Photographic Society in 1924. T.W.F.", "name_in_original_language": null, "birth_year": "1864", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "1904", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1995.199", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:54"}, {"id": 158145, "accession_number": "1995.199.8.g", "share_license_status": "Copyrighted", "tombstone": "Camera Work: Study - Miss R., 1904. Alvin Langdon Coburn (British, 1882\u20131966). Photogravure. 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United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "1904", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1995.199", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:54.046000"}, {"id": 159654, "accession_number": "1996.368", "share_license_status": "CC0", "tombstone": "Landscape with Man Fishing, Conway, New Hampshire, 1851. David Johnson (American, 1827\u20131908). Graphite heightened with white; sheet: 27 x 38.3 cm (10 5/8 x 15 1/16 in.). The Cleveland Museum of Art, Gift of The Honorable Joseph P. Carroll and Roberta Carroll, M.D., 1996.368", "current_location": null, "title": "Landscape with Man Fishing, Conway, New Hampshire", "creation_date": "1851", "creation_date_earliest": 1851, "creation_date_latest": 1851, "artists_tags": ["male"], "culture": ["America"], "technique": "Graphite heightened with white", "support_materials": [{"description": "light brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 27 x 38.3 cm (10 5/8 x 15 1/16 in.)", "dimensions": {"sheet": {"height": 0.27, "height_inch": 10, "height_inch_fraction": 0.625, "width": 0.383, "width_inch": 15, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "by artist, in graphite, lr: Conway Sept. 51. [underlined] ; verso, by unknown hand, in graphite, lr: $3,000", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979611"], "internet_archive": ["https://archive.org/details/clevelandart-1996.368-landscape-with-man-f"]}, "citations": [], "url": "https://clevelandart.org/art/1996.368", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1996.368/1996.368_web.jpg", "width": "1257", "height": "893", "filesize": "158851", "filename": "1996.368_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1996.368/1996.368_print.jpg", "width": "3400", "height": "2416", "filesize": "1629283", "filename": "1996.368_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1996.368/1996.368_full.tif", "width": "7382", "height": "5247", "filesize": "116222052", "filename": "1996.368_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.368/1996.368_alt0_web.jpg", "width": "1260", "height": "893", "filesize": "850098"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.368/1996.368_alt0_print.jpg", "width": "2048", "height": "1451", "filesize": "2319455"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.368/1996.368_alt0_full.tif", "width": "2048", "height": "1451", "filesize": "8918028"}}], "creditline": "Gift of The Honorable Joseph P. Carroll and Roberta Carroll, M.D.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159654, "creators": [{"id": 2732, "description": "David Johnson (American, 1827\u20131908)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1827", "death_year": "1908", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1851, "date_added_to_oa": null, "date_text": "1851", "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": "2026-05-01 06:52:04.950000"}, {"id": 159704, "accession_number": "1996.409", "share_license_status": "Copyrighted", "tombstone": "Ruins, Arles, 1954. Lucien Clergue (French, 1934-). Gelatin silver print; image: 26 x 24.3 cm (10 1/4 x 9 9/16 in.); paper: 39.6 x 27.8 cm (15 9/16 x 10 15/16 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Thomas A. Mann and Lucien Clergue, 1996.409. \u00a9 Lucien Clergue/SAIF, Paris/VAGA, New York", "current_location": null, "title": "Ruins, Arles", "creation_date": "1954", "creation_date_earliest": 1954, "creation_date_latest": 1954, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 26 x 24.3 cm (10 1/4 x 9 9/16 in.); Paper: 39.6 x 27.8 cm (15 9/16 x 10 15/16 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.26, "height_inch": 10, "height_inch_fraction": 0.25, "width": 0.243, "width_inch": 9, "width_inch_fraction": 0.5625}, "paper": {"height": 0.396, "height_inch": 15, "height_inch_fraction": 0.5625, "width": 0.278, "width_inch": 10, "width_inch_fraction": 0.9375}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lucien Clergue/SAIF, Paris/VAGA, New York", "inscriptions": [{"inscription": "Written in black ink on recto: \"Lucien Clergue [signed]\"; \"\u00a9 1954 by Lucien Clergue--printed 1996 by St\u00e8phanie Mariet and Lucien Clergue-- / Ruins of Arles, 1954--ref: RA 19-- ex 1/20 PF / Lucien Clergue [signed]\"; in pencil: \"Reimes 19 / GEH 85 / NYGS 5\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979742"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1996.409", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Thomas A. Mann and Lucien Clergue", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159704, "creators": [{"id": 6484, "description": "Lucien Clergue (French, 1934-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1954, "date_added_to_oa": null, "date_text": "1954", "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": "1", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:05.260000"}, {"id": 159705, "accession_number": "1996.410", "share_license_status": "Copyrighted", "tombstone": "Junkman's Mannequin, Arles, 1956. Lucien Clergue (French, 1934-). Gelatin silver print; image: 31 x 27.2 cm (12 3/16 x 10 11/16 in.); paper: 39 x 29.7 cm (15 3/8 x 11 11/16 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Thomas A. Mann and Lucien Clergue, 1996.410. \u00a9 Lucien Clergue/SAIF, Paris/VAGA, New York", "current_location": null, "title": "Junkman's Mannequin, Arles", "creation_date": "1956", "creation_date_earliest": 1956, "creation_date_latest": 1956, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 31 x 27.2 cm (12 3/16 x 10 11/16 in.); Paper: 39 x 29.7 cm (15 3/8 x 11 11/16 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.31, "height_inch": 12, "height_inch_fraction": 0.1875, "width": 0.272, "width_inch": 10, "width_inch_fraction": 0.6875}, "paper": {"height": 0.39, "height_inch": 15, "height_inch_fraction": 0.375, "width": 0.297, "width_inch": 11, "width_inch_fraction": 0.6875}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lucien Clergue/SAIF, Paris/VAGA, New York", "inscriptions": [{"inscription": "Written in ink on recto: \"Lucien Clergue [signed]\"; on verso: \"Mannequins du Chiffonier 1956 / \u00a9 by Lucien Clergue 1984 and printed 1983 by L. Clergue / Lucien Clergue [signed] ex 7/20 PF ref MC24\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979745"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1996.410", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Thomas A. Mann and Lucien Clergue", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159705, "creators": [{"id": 6484, "description": "Lucien Clergue (French, 1934-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1956, "date_added_to_oa": null, "date_text": "1956", "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": "7", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:05.267000"}, {"id": 159706, "accession_number": "1996.411", "share_license_status": "Copyrighted", "tombstone": "The Angel of Death, Arles, 1957. Lucien Clergue (French, 1934-). Gelatin silver print; image: 33.6 x 26.4 cm (13 1/4 x 10 3/8 in.); paper: 39.9 x 27.9 cm (15 11/16 x 11 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Thomas A. Mann and Lucien Clergue, 1996.411. \u00a9 Lucien Clergue/SAIF, Paris/VAGA, New York", "current_location": null, "title": "The Angel of Death, Arles", "creation_date": "1957", "creation_date_earliest": 1957, "creation_date_latest": 1957, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 33.6 x 26.4 cm (13 1/4 x 10 3/8 in.); Paper: 39.9 x 27.9 cm (15 11/16 x 11 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.336, "height_inch": 13, "height_inch_fraction": 0.25, "width": 0.264, "width_inch": 10, "width_inch_fraction": 0.375}, "paper": {"height": 0.399, "height_inch": 15, "height_inch_fraction": 0.6875, "width": 0.279, "width_inch": 11, "width_inch_fraction": 0.0}, "matted": {"height": 0.559, "height_inch": 22, "height_inch_fraction": 0.0, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lucien Clergue/SAIF, Paris/VAGA, New York", "inscriptions": [{"inscription": "Written in black ink on recto: \"Lucien Clergue [signed]; on verso: \"\u00a9 1957 by Lucien Clergue--printed 1996 by St\u00e8phanie Mariet and Lucien Clergue---  /  The angel of Death, Arles, 1957--ref AM12--ex: 1/20 PF / Lucien Clergue [signed]\"; in pencil: \"chien mort 12 / NYGS 26\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979748"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1996.411", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Thomas A. Mann and Lucien Clergue", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159706, "creators": [{"id": 6484, "description": "Lucien Clergue (French, 1934-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1957, "date_added_to_oa": null, "date_text": "1957", "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": "1", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:05.275000"}, {"id": 160019, "accession_number": "1997.281", "share_license_status": "CC0", "tombstone": "Small Pitcher, 1885. Martin Rettig (American, 1869\u20131956), Rookwood Pottery Company (American, established 1880). Earthenware; overall: 13.8 x 9 cm (5 7/16 x 3 9/16 in.). The Cleveland Museum of Art, Gift of Henry H. Hawley, 1997.281", "current_location": null, "title": "Small Pitcher", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male", "gender unknown"], "culture": ["America"], "technique": "earthenware", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 13.8 x 9 cm (5 7/16 x 3 9/16 in.)", "dimensions": {"overall": {"height": 0.138, "height_inch": 5, "height_inch_fraction": 0.4375, "width": 0.09, "width_inch": 3, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980540"], "internet_archive": ["https://archive.org/details/clevelandart-1997.281-small-pitcher"]}, "citations": [], "url": "https://clevelandart.org/art/1997.281", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.281/1997.281_web.jpg", "width": "716", "height": "893", "filesize": "337795", "filename": "1997.281_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.281/1997.281_print.jpg", "width": "1536", "height": "1917", "filesize": "1663063", "filename": "1997.281_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.281/1997.281_full.tif", "width": "1536", "height": "1917", "filesize": "8836788", "filename": "1997.281_full.tif"}}, "alternate_images": [], "creditline": "Gift of Henry H. Hawley", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160019, "creators": [{"id": 37985, "description": "Martin Rettig (American, 1869\u20131956)", "extent": null, "qualifier": null, "role": "decorated by", "biography": null, "name_in_original_language": null, "birth_year": "1869", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 19542, "description": "Rookwood Pottery Company (American, established 1880)", "extent": null, "qualifier": null, "role": "made by", "biography": "one of the most important factories for art pottery in the USA, founded in Cincinnati in 1880 by Mrs. Maria Nichols (later Mrs. Storer) with financial support from her father, Joseph Longworth, a rich patron of the arts. Named after their family home.", "name_in_original_language": null, "birth_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "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": "2026-05-01 06:52:07.810000"}, {"id": 160419, "accession_number": "1998.254", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1964. Gary Bower (American, 1940-). Watercolor, tempera, and graphite; image: 40.7 x 40.7 cm (16 x 16 in.); sheet: 44 x 47.5 cm (17 5/16 x 18 11/16 in.). The Cleveland Museum of Art, Bequest of Robert deSteacy Paxton, 1998.254", "current_location": null, "title": "Untitled", "creation_date": "1964", "creation_date_earliest": 1964, "creation_date_latest": 1964, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor, tempera, and graphite", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 40.7 x 40.7 cm (16 x 16 in.); Sheet: 44 x 47.5 cm (17 5/16 x 18 11/16 in.)", "dimensions": {"sheet": {"height": 0.44, "height_inch": 17, "height_inch_fraction": 0.3125, "width": 0.475, "width_inch": 18, "width_inch_fraction": 0.6875}, "image": {"height": 0.407, "height_inch": 16, "height_inch_fraction": 0.0, "width": 0.407, "width_inch": 16, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in graphite in lower right on verso: \"Untitled/ '64/Bower\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Robert deSteacy Paxton, Gates Mills, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Estate of Robert deSteacy Paxton, Cleveland, Heights, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "November 23, 1998", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79981569"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1998.254", "images": {}, "alternate_images": [], "creditline": "Bequest of Robert deSteacy Paxton", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160419, "creators": [{"id": 3399, "description": "Gary Bower (American, 1940-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-11-23T00:00:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964", "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": "2026-05-01 06:52:11.218000"}, {"id": 160532, "accession_number": "1998.313", "share_license_status": "Copyrighted", "tombstone": "Head of a Man, 1916. George Grosz (German, 1893\u20131959). Graphite with stumping; sheet: 21.6 x 17.7 cm (8 1/2 x 6 15/16 in.). The Cleveland Museum of Art, Bequest of Gordon K. Mott, 1998.313. \u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Head of a Man", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["male"], "culture": ["Germany, Berlin, 20th century"], "technique": "graphite with stumping", "support_materials": [{"description": "brown-yellow tracing paper", "watermarks": []}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 21.6 x 17.7 cm (8 1/2 x 6 15/16 in.)", "dimensions": {"sheet": {"height": 0.216, "height_inch": 8, "height_inch_fraction": 0.5, "width": 0.177, "width_inch": 6, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "signed, lower right, in graphite: GROSZ ; by artist, lower right, in brown ink: [illegible]off./2.Juni 1916. ; VERSO, lower right, in graphite: 290 [circled] ; lower right, in black ink: 5 101 8 [part of estate stamp?]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79981883"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1998.313", "images": {}, "alternate_images": [], "creditline": "Bequest of Gordon K. Mott", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160532, "creators": [{"id": 12615, "description": "George Grosz (German, 1893\u20131959)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1959", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1999-03-01T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916", "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": "2026-05-01 06:52:12.038000"}, {"id": 160554, "accession_number": "1998.333", "share_license_status": "CC0", "tombstone": "Perth Bridge, 1889. David Young Cameron (British, 1865\u20131945), Messrs. Seeley & Co. in \"The Portfolio,\" vol. XX, July 1889. Etching; sheet: 25.9 x 36.1 cm (10 3/16 x 14 3/16 in.); platemark: 17.5 x 26.3 cm (6 7/8 x 10 3/8 in.). The Cleveland Museum of Art, Bequest of Gordon K. Mott, 1998.333", "current_location": null, "title": "Perth Bridge", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["England, late 19th Century"], "technique": "etching", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 25.9 x 36.1 cm (10 3/16 x 14 3/16 in.); Platemark: 17.5 x 26.3 cm (6 7/8 x 10 3/8 in.)", "dimensions": {"sheet": {"height": 0.259, "height_inch": 10, "height_inch_fraction": 0.1875, "width": 0.361, "width_inch": 14, "width_inch_fraction": 0.1875}, "platemark": {"height": 0.175, "height_inch": 6, "height_inch_fraction": 0.875, "width": 0.263, "width_inch": 10, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed in plate: Perth Bridge DY Cameron (l.r.)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79981946"], "internet_archive": ["https://archive.org/details/clevelandart-1998.333-perth-bridge"]}, "citations": [], "catalogue_raisonne": "Rinder 28", "url": "https://clevelandart.org/art/1998.333", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.333/1998.333_web.jpg", "width": "900", "height": "649", "filesize": "227447", "filename": "1998.333_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.333/1998.333_print.jpg", "width": "3400", "height": "2453", "filesize": "2630412", "filename": "1998.333_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.333/1998.333_full.tif", "width": "12189", "height": "8794", "filesize": "321595272", "filename": "1998.333_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Gordon K. 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Mott, 1998.394", "current_location": null, "title": "The Prodigal Son", "creation_date": "1882", "creation_date_earliest": 1882, "creation_date_latest": 1882, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "etching", "support_materials": [{"description": "laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": "III/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "artist's signature inscribed in plate below image: W. Strang 82. (l.r)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982122"], "internet_archive": ["https://archive.org/details/clevelandart-1998.394-the-prodigal-son"]}, "citations": [], "catalogue_raisonne": "Strang 21", "url": "https://clevelandart.org/art/1998.394", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.394/1998.394_web.jpg", "width": "1009", "height": "893", "filesize": "719329", "filename": "1998.394_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.394/1998.394_print.jpg", "width": "3400", "height": "3009", "filesize": "7229210", "filename": "1998.394_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.394/1998.394_full.tif", "width": "4518", "height": "3999", "filesize": "54235504", "filename": "1998.394_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Gordon K. 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Jill Krementz (American, 1940-). Gelatin silver print; image: 35.5 x 24.1 cm (14 x 9 1/2 in.); paper: 44.1 x 34.1 cm (17 3/8 x 13 7/16 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). The Cleveland Museum of Art, Given by Helen A. Weinberg in loving memory of her husband Kenneth G. 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Weinberg [1927-2012], Shaker Heights, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 15, 2000", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79983269"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1999.271.5", "images": {}, "alternate_images": [], "creditline": "Given by Helen A. Weinberg in loving memory of her husband Kenneth G. Weinberg", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161043, "creators": [{"id": 38420, "description": "Jill Krementz (American, 1940-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68165, "description": "Guild Hall Museum", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2000-03-15T00:00:00", "sortable_date": 1961, "date_added_to_oa": null, "date_text": "1961", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1999.271", "is_nazi_era_provenance": false, "impression": "11", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:15.584000"}, {"id": 161504, "accession_number": "2000.161", "share_license_status": "Copyrighted", "tombstone": "1989. A Portfolio of 11 Images Honoring Artists Lost to AIDS, 1987. Chuck Close (American, 1940\u20132021), Cindy Sherman (American, b. 1954), Frank Moore (American, 1953\u20132002), Jack Pierson (American, b. 1960), Jim Hodges (American, b. 1957), Jorge Pardo (American, b. 1963), Kiki Smith (American, b. 1954), Lari Pittman (American, 1952-), Laurie Simmons (American, 1949-), Nan Goldin (American, b. 1953), Robert Wilson (American, 1941\u20132025). Photograph. The Cleveland Museum of Art, Gift of Agnes Gund and Daniel Shapiro, 2000.161", "current_location": null, "title": "1989. 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Gettner, 2002.82.1", "current_location": null, "title": "Dust Storm, Cimarron County, Oklahoma", "series": "Arthur Rothstein portfolio", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 22.8 x 22.6 cm (9 x 8 7/8 in.); Paper: 35.6 x 27.7 cm (14 x 10 7/8 in.)", "dimensions": {"image": {"height": 0.228, "height_inch": 9, "height_inch_fraction": 0.0, "width": 0.226, "width_inch": 8, "width_inch_fraction": 0.875}, "paper": {"height": 0.356, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.277, "width_inch": 10, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": "50 + II artist's proofs", "copyright": null, "inscriptions": [{"inscription": "written in pencil on recto: \"Arthur Rothstein\" [signed]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986478"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2002.82.1", "images": {}, "alternate_images": [], "creditline": "Gift of Alan and Monah L. Gettner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162369, "creators": [{"id": 6592, "description": "Arthur Rothstein (American, 1915\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-09-03T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2002.82", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:24.368000"}, {"id": 162370, "accession_number": "2002.82.2", "share_license_status": "Copyrighted", "tombstone": "Arthur Rothstein portfolio: John Dudeck, Dalton, New York, 1937. 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Gettner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162370, "creators": [{"id": 6592, "description": "Arthur Rothstein (American, 1915\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-09-03T00:00:00", "sortable_date": 1937, "date_added_to_oa": null, "date_text": "1937", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2002.82", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:52:24.374000"}, {"id": 162832, "accession_number": "2003.323", "share_license_status": "CC0", "tombstone": "Fancy, 1877. 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John Wilson (American, 1922\u20132015). Black chalk/charcoal; overall: 44.7 x 60.1 cm (17 5/8 x 23 11/16 in.). The Cleveland Museum of Art, Gift of the family of Ernest Wasser, 2004.72. \u00a9  Estate of John Woodrow Wilson / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Coastal Landscape", "creation_date": "1945", "creation_date_earliest": 1945, "creation_date_latest": 1945, "artists_tags": ["male", "Black American Artists"], "culture": ["America"], "technique": "black chalk/charcoal", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Overall: 44.7 x 60.1 cm (17 5/8 x 23 11/16 in.)", "dimensions": {"overall": {"height": 0.447, "height_inch": 17, "height_inch_fraction": 0.625, "width": 0.601, "width_inch": 23, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of John Woodrow Wilson / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "lower left: John Wilson Aug 23, 1945", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79989709"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2004.72", "images": {}, "alternate_images": [], "creditline": "Gift of the family of Ernest Wasser", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163514, "creators": [{"id": 7996, "description": "John Wilson (American, 1922\u20132015)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2015", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-09-07T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945", "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": "2026-05-01 06:52:32.561000"}, {"id": 163530, "accession_number": "2004.76", "share_license_status": "Copyrighted", "tombstone": "Mother and Child, 1944. John Wilson (American, 1922\u20132015). Lithograph; sheet: 47.8 x 31.9 cm (18 13/16 x 12 9/16 in.); image: 33.8 x 23.2 cm (13 5/16 x 9 1/8 in.). The Cleveland Museum of Art, Gift of the family of Ernest Wasser, 2004.76. \u00a9  Estate of John Woodrow Wilson / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Mother and Child", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["male", "Black American Artists"], "culture": ["America"], "technique": "lithograph", "support_materials": [{"description": "wove index paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 47.8 x 31.9 cm (18 13/16 x 12 9/16 in.); Image: 33.8 x 23.2 cm (13 5/16 x 9 1/8 in.)", "dimensions": {"sheet": {"height": 0.478, "height_inch": 18, "height_inch_fraction": 0.8125, "width": 0.319, "width_inch": 12, "width_inch_fraction": 0.5625}, "image": {"height": 0.338, "height_inch": 13, "height_inch_fraction": 0.3125, "width": 0.232, "width_inch": 9, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of John Woodrow Wilson / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "lower right in graphite: John Wilson; Lower left in graphite: Mother and Child", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79989752"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2004.76", "images": {}, "alternate_images": [], "creditline": "Gift of the family of Ernest Wasser", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163530, "creators": [{"id": 7996, "description": "John Wilson (American, 1922\u20132015)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2015", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-09-07T00:00:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "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": "2026-05-01 06:52:32.666000"}, {"id": 163834, "accession_number": "2005.234", "share_license_status": "CC0", "tombstone": "The Raven, 1854. F\u00e9lix Bracquemond (French, 1833\u20131914). Etching; sheet: 31.7 x 23.8 cm (12 1/2 x 9 3/8 in.); platemark: 23.5 x 18.5 cm (9 1/4 x 7 5/16 in.). 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(Part IV, plate 2), 1592. Joris Hoefnagel (Flemish, 1542\u20131600), after Jacob Hoefnagel (Flemish, 1575\u20131630). Engraving; sheet: 18.6 x 27.2 cm (7 5/16 x 10 11/16 in.); platemark: 15.7 x 21.1 cm (6 3/16 x 8 5/16 in.). The Cleveland Museum of Art, Anne Elizabeth Wilson Memorial Fund, 2006.122", "current_location": null, "title": "Archetypes and Studies: What can emerge in keeping with such a cavernous promise? 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Marcia Herscovitz (American, 1945\u20131974), Letter Edged in Black Press. Photocollages printed on both sides of black stock. 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William Bryant (American, 1946-), Letter Edged in Black Press. Eighteen page folio of sheet music with renderings of cloud formations; 5 sheets. 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Ronnie Landfield (American, 1947-), Letter Edged in Black Press. Two colored preparatory drawings on parchment with hand-written philosophical notations. The Cleveland Museum of Art, James Parmelee Fund, 2008.157.3.d", "current_location": null, "title": "Two Drawings", "series": "SMS: A Collection of Multiples, vol. 3", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "Two colored preparatory drawings on parchment with hand-written philosophical notations", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Mixed Media", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996241"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2008.157.3.d", "images": {}, "alternate_images": [], "creditline": "James Parmelee Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166249, "creators": [{"id": 57678, "description": "Ronnie Landfield (American, 1947-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68522, "description": "Letter Edged in Black Press", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.157", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["SMS Portfolio No. 3: Two Drawings"], "is_highlight": false, "updated_at": "2026-05-01 06:52:51.754000"}, {"id": 166245, "accession_number": "2008.157.3.i", "share_license_status": "Copyrighted", "tombstone": "SMS: A Collection of Multiples, vol. 3: Four Titled Abstracts, 1968. Joseph Kosuth (American, 1945-), Letter Edged in Black Press. Printed dictionary excerpts on 4 hand-folded black papers, enclosed in folder; sheet 4: 12.9 x 13 cm (5 1/16 x 5 1/8 in.); sheet 3: 12.7 x 13 cm (5 x 5 1/8 in.); sheet 2: 13 x 12.9 cm (5 1/8 x 5 1/16 in.); sheet 1: 12.7 x 12.7 cm (5 x 5 in.). The Cleveland Museum of Art, James Parmelee Fund, 2008.157.3.i. \u00a9 Joseph Kosuth / Artists Rights Society (ARS), New York", "current_location": null, "title": "Four Titled Abstracts", "series": "SMS: A Collection of Multiples, vol. 3", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["male"], "culture": ["America"], "technique": "Printed dictionary excerpts on 4 hand-folded black papers, enclosed in folder", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Mixed Media", "measurements": "Sheet 4: 12.9 x 13 cm (5 1/16 x 5 1/8 in.); Sheet 3: 12.7 x 13 cm (5 x 5 1/8 in.); Sheet 2: 13 x 12.9 cm (5 1/8 x 5 1/16 in.); Sheet 1: 12.7 x 12.7 cm (5 x 5 in.)", "dimensions": {"sheet 4": {"height": 0.129, "height_inch": 5, "height_inch_fraction": 0.0625, "width": 0.13, "width_inch": 5, "width_inch_fraction": 0.125}, "sheet 3": {"height": 0.127, "height_inch": 5, "height_inch_fraction": 0.0, "width": 0.13, "width_inch": 5, "width_inch_fraction": 0.125}, "sheet 2": {"height": 0.13, "height_inch": 5, "height_inch_fraction": 0.125, "width": 0.129, "width_inch": 5, "width_inch_fraction": 0.0625}, "sheet 1": {"height": 0.127, "height_inch": 5, "height_inch_fraction": 0.0, "width": 0.127, "width_inch": 5, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Joseph Kosuth / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996253"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2008.157.3.i", "images": {}, "alternate_images": [], "creditline": "James Parmelee Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166245, "creators": [{"id": 57669, "description": "Joseph Kosuth (American, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68522, "description": "Letter Edged in Black Press", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.157", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["SMS Portfolio No. 3: Four Titled Abstracts"], "is_highlight": false, "updated_at": "2026-05-01 06:52:51.727000"}, {"id": 166281, "accession_number": "2008.157.6.c", "share_license_status": "Copyrighted", "tombstone": "SMS: A Collection of Multiples, vol. 6: Twenty Down, 1968. Adrian Nutbeem (British, 1946-), Letter Edged in Black Press. Embossed colored card conceptualizing a crossword puzzle. The Cleveland Museum of Art, James Parmelee Fund, 2008.157.6.c", "current_location": null, "title": "Twenty Down", "series": "SMS: A Collection of Multiples, vol. 6", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["male"], "culture": ["America"], "technique": "Embossed colored card conceptualizing a crossword puzzle", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Mixed Media", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996328"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2008.157.6.c", "images": {}, "alternate_images": [], "creditline": "James Parmelee Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166281, "creators": [{"id": 57756, "description": "Adrian Nutbeem (British, 1946-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68522, "description": "Letter Edged in Black Press", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.157", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["SMS Portfolio No. 6: Twenty Down"], "is_highlight": false, "updated_at": "2026-05-01 06:52:51.985000"}, {"id": 166447, "accession_number": "2008.202", "share_license_status": "CC0", "tombstone": "Picturesque Views of Scotland: Brackline, 1826. Richard Parkes Bonington (British, 1802\u20131828), after Fran\u00e7ois Alexandre Pernot (French, 1793\u20131865). Lithograph; sheet: 25.5 x 34.2 cm (10 1/16 x 13 7/16 in.); image: 16 x 22.6 cm (6 5/16 x 8 7/8 in.); with black border: 17 x 23.7 cm (6 11/16 x 9 5/16 in.). The Cleveland Museum of Art, Gift of John Bonebrake, 2008.202", "current_location": null, "title": "Picturesque Views of Scotland: Brackline", "creation_date": "1826", "creation_date_earliest": 1826, "creation_date_latest": 1826, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 25.5 x 34.2 cm (10 1/16 x 13 7/16 in.); Image: 16 x 22.6 cm (6 5/16 x 8 7/8 in.); With black border: 17 x 23.7 cm (6 11/16 x 9 5/16 in.)", "dimensions": {"sheet": {"height": 0.255, "height_inch": 10, "height_inch_fraction": 0.0625, "width": 0.342, "width_inch": 13, "width_inch_fraction": 0.4375}, "image": {"height": 0.16, "height_inch": 6, "height_inch_fraction": 0.3125, "width": 0.226, "width_inch": 8, "width_inch_fraction": 0.875}, "with black border": {"height": 0.17, "height_inch": 6, "height_inch_fraction": 0.6875, "width": 0.237, "width_inch": 9, "width_inch_fraction": 0.3125}}, "state_of_the_work": "II/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996701"], "internet_archive": ["https://archive.org/details/clevelandart-2008.202-picturesque-views-of"]}, "citations": [], "catalogue_raisonne": "Curtis 36", "url": "https://clevelandart.org/art/2008.202", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.202/2008.202_web.jpg", "width": "1138", "height": "893", "filesize": "917963", "filename": "2008.202_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.202/2008.202_print.jpg", "width": "3400", "height": "2669", "filesize": "8745112", "filename": "2008.202_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.202/2008.202_full.tif", "width": "5968", "height": "4685", "filesize": "83914984", "filename": "2008.202_full.tif"}}, "alternate_images": [], "creditline": "Gift of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166447, "creators": [{"id": 2475, "description": "Richard Parkes Bonington (British, 1802\u20131828)", "extent": null, "qualifier": null, "role": "artist", "biography": "Richard Parkes Bonington was born in Arnold near Nottingham, the son of a portrait painter of indifferent talent and quixotic temperament. In autumn 1817 the family established a lace manufactur-ing business in Calais, where Bonington studied watercolor painting briefly with the Anglo-French artist Louis Francia (1772-1839). Two years later he enrolled in the atelier of Gros (q.v.) but was an irregular student. His disillusionment with Gros lead to a stormy departure in 1822. In the same year he exhibited at the Paris Salon topographical watercolors from the first of his several tours of Normandy. These established his repu-tation as a landscape painter and drafts-man of medieval architecture. However, the group of five marine paintings submitted to the 1824 Salon, for which he was awarded a gold medal, confirmed his preeminence in the French romantic school. Bonington made the first of sev-eral trips to London in 1825, after which he shared a studio with Eug\u00e8ne Delacroix (q.v.) in Paris until his departure for a brief tour of Northern Italy in April 1826. It was Delacroix who persuaded Bonington to expand his interests beyond landscape to include figural subjects. In the final two hectic years of his life, Bonington produced mostly Venetian views and historical and literary illustra-tions, which he exhibited at both the 1827-28 Paris Salon and the 1828 Royal Academy exhibitions. He died in London from tuberculosis in September 1828. Despite the brevity of his career, Bonington's protean originality and dazzling virtuoso style inspired a host of French and British imitators, while his relationships with Delacroix and the landscape painters Eug\u00e8ne Isabey (1803-1886) and Paul Huet (1803-1869) would be of cardinal importance to the subsequent development of French painting.", "name_in_original_language": null, "birth_year": "1802", "death_year": "1828", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 47803, "description": "Fran\u00e7ois Alexandre Pernot (French, 1793\u20131865)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1793", "death_year": "1865", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1826, "date_added_to_oa": null, "date_text": "1826", "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": "2026-05-01 06:52:53.163000"}, {"id": 166448, "accession_number": "2008.203", "share_license_status": "CC0", "tombstone": "Picturesque and Romantic Trips in Old France, Franche-Compt\u00e9: Front of the Church at Brou , 1825. 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Robin Tanner (British, 1904\u20131988), Nicholson. Etching; sheet: 19.8 x 26.7 cm (7 13/16 x 10 1/2 in.); platemark: 10.2 x 15 cm (4 x 5 7/8 in.). 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Robin Tanner (British, 1904\u20131988), Nicholson. Etching. 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John Taylor Arms (American, 1887\u20131953). Pen and ink; image: 15.3 x 24.8 cm (6 x 9 3/4 in.); sheet: 27.8 x 36.2 cm (10 15/16 x 14 1/4 in.). The Cleveland Museum of Art, Gift of Suzanne Taylor Arms in honor of Caedon Suzanne Summers, 2008.443. Courtesy of John Taylor Arms/\u00a9 Suzanne Arms Hawkins", "current_location": null, "title": "Library, Greenpoint NY", "creation_date": "1910", "creation_date_earliest": 1910, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["America"], "technique": "pen and ink", "support_materials": [{"description": "Strathmore paper with partial embossed Strathmore thistle", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 15.3 x 24.8 cm (6 x 9 3/4 in.); Sheet: 27.8 x 36.2 cm (10 15/16 x 14 1/4 in.)", "dimensions": {"sheet": {"height": 0.278, "height_inch": 10, "height_inch_fraction": 0.9375, "width": 0.362, "width_inch": 14, "width_inch_fraction": 0.25}, "image": {"height": 0.153, "height_inch": 6, "height_inch_fraction": 0.0, "width": 0.248, "width_inch": 9, "width_inch_fraction": 0.75}, "mounted": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Courtesy of John Taylor Arms/\u00a9 Suzanne Arms Hawkins", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Estate of John Taylor Arms", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Susan Taylor Arms (by descent)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 2, 2009", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997399"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2008.443", "images": {}, "alternate_images": [], "creditline": "Gift of Suzanne Taylor Arms in honor of Caedon Suzanne Summers", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166738, "creators": [{"id": 29993, "description": "John Taylor Arms (American, 1887\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910", "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": "2026-05-01 06:52:55.153000"}, {"id": 166881, "accession_number": "2009.126", "share_license_status": "CC0", "tombstone": "Landscape, 1836. Th\u00e9odore Rousseau (French, 1812\u20131867). Pen and brown ink, ink wash, graphite underdrawing and selective gum glazing; support: 26.5 x 21.6 cm (10 7/16 x 8 1/2 in.); matted: 48.9 x 36.2 cm (19 1/4 x 14 1/4 in.); sheet: 18.8 x 13.5 cm (7 3/8 x 5 5/16 in.). 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The young artist copied the works of Claude Lorrain (1600-1682) and Dutch seventeenth-century landscape painters at the Louvre, and he was intrigued by contemporary painters such as Constable (q.v.) and Bonington (q.v.). His foremost interest, however, was the study of nature. In 1830 he traveled extensively through the Auvergne and was much inspired by the wilderness of this region. Scheffer (q.v.), who admired Rousseau's nature studies from this period, introduced him to the Paris art circles of Charles Baudelaire and Delacroix (q.v.). In the early 1830s Rousseau also met Corot (q.v.) and became very close friends with Dupr\u00e9 (q.v.). Rousseau exhibited at the Salons of 1831 and 1833-35. After 1836 he began to travel extensively throughout France, notably to the forest of Fontainebleau and to Barbizon, where he would return every year and become the leader of the group of romantic-naturalist artists, the so-called Barbizon School. In the 1850s he also became increasingly involved in the movement to preserve the forest of Fontainebleau from industrialization. From 1836 until 1841 all of Rousseau's works were refused at the Salon because the jury advocated a more classicizing landscape painting. As he was also often passed over for official honors, the artist became known as \"le grand refus\u00e9\" and abstained from showing his work at the Salon most of the 1840s. After the 1848 revolution, the new regime under Napoleon III rated his work more favorably, even granting him a first-class medal at the 1849 Salon, so he no longer had to submit his work to the jury. Yet Rousseau had not been awarded the Legion of Honor, an even stronger insult when Dupr\u00e9 received it. In the early 1850s Rousseau befriended Millet (q.v.), and the two often worked together in Barbizon. Rousseau's international breakthrough occurred at the 1855 Exposition Universelle, where his work was exhibited in a gallery that he shared with Decamps (q.v.). Throughout his career, however, the sale of his work was unstable, partly because not showing regularly at the Salon limited his exposure. The artist therefore even had to organize two auctions (1850, 1861) of his works in order to make money, but the results were disappointing. Rousseau exhibited thirteen paintings at the Exposition Universelle of 1867 and figured as president of the jury. Yet because of his animosity with Comte de Nieuwerkerke, directeur-g\u00e9n\u00e9ral des mus\u00e9es imp\u00e9riaux, the artist only received a grand medal and not the anticipated highest rank, Officer of the Legion of Honor. 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Louis Faurer (American, 1916\u20132001). Gelatin silver print; paper: 28 x 35.6 cm (11 x 14 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). 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Nicolas Toussaint Charlet (French, 1792\u20131845), Bertaut. Lithograph. 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IV, p. 357-58, no. 310:13; de La Combe p. 337-341, no. 855:13; B\u00e9raldi vol. 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Joseph Webb, 1908-1962, Prints and Working Drawings (Cambridge, England: Fitzwil", "url": "https://clevelandart.org/art/2010.596", "images": {}, "alternate_images": [], "creditline": "Gift of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168917, "creators": [{"id": 47806, "description": "Joseph Webb (British, 1908\u20131962)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1908", "death_year": "1962", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-03-07T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "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": "2026-05-01 06:53:10.245000"}, {"id": 169553, "accession_number": "2011.377", "share_license_status": "Copyrighted", "tombstone": "Group of People on Bridge, 1909. Karl F. Struss (American, 1886\u20131981). Gelatin silver print; paper: 7 x 9.6 cm (2 3/4 x 3 3/4 in.); matted: 30.5 x 35.6 cm (12 x 14 in.). 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T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-12-05T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "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": "2026-05-01 06:53:14.761000"}, {"id": 169558, "accession_number": "2011.381", "share_license_status": "Copyrighted", "tombstone": "House in Woods, 1909. Karl F. Struss (American, 1886\u20131981). Platinum print; paper: 9.6 x 11.8 cm (3 3/4 x 4 5/8 in.); matted: 30.5 x 35.6 cm (12 x 14 in.). 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Gelatin silver print with added color and thread; image: 23.3 x 37.5 cm (9 3/16 x 14 3/4 in.); mounted: 40.7 x 50.8 cm (16 x 20 in.); paper: 23.3 x 37.5 cm (9 3/16 x 14 3/4 in.); matted: 50.8 x 61 cm (20 x 24 in.). 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Karl F. Struss (American, 1886\u20131981). Vintage gelatin silver print; image: 9.5 x 7.1 cm (3 3/4 x 2 13/16 in.); paper: 10.2 x 7.8 cm (4 x 3 1/16 in.). 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T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-12-02T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "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": "2026-05-01 06:53:22.004000"}, {"id": 170863, "accession_number": "2013.34", "share_license_status": "CC0", "tombstone": "Portrait of John Francis Miller Erskine, Earl of Mar and Earl of Kellie, 1825. Kenneth Macleay (Scottish, 1802\u20131878). Watercolor on ivory; framed: 14.8 x 12.8 cm (5 13/16 x 5 1/16 in.); overall: 10 x 8 cm (3 15/16 x 3 1/8 in.). The Cleveland Museum of Art, The A. W. Ellenberger, Sr., Endowment Fund, 2013.34", "current_location": null, "title": "Portrait of John Francis Miller Erskine, Earl of Mar and Earl of Kellie", "creation_date": "1825", "creation_date_earliest": 1825, "creation_date_latest": 1825, "artists_tags": ["male"], "culture": ["Scotland"], "technique": "watercolor on ivory", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 14.8 x 12.8 cm (5 13/16 x 5 1/16 in.); Overall: 10 x 8 cm (3 15/16 x 3 1/8 in.)", "dimensions": {"framed": {"height": 0.148, "height_inch": 5, "height_inch_fraction": 0.8125, "width": 0.128, "width_inch": 5, "width_inch_fraction": 0.0625}, "overall": {"height": 0.1, "height_inch": 3, "height_inch_fraction": 0.9375, "width": 0.08, "width_inch": 3, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed in graphite on backing paper: MacLeay; inscribed in pen on paper label attached to back of frame: \"Earl of Mar & Kellie. Kenneth MacLeay 1825\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "This miniature is being sold by a private collector in Vienna, who purchased it from an estate. She was contacted directly, but could not recall when or where she had purchased the miniature.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80080189"], "internet_archive": ["https://archive.org/details/clevelandart-2013.34-portrait-of-john-fra"]}, "citations": [], "url": "https://clevelandart.org/art/2013.34", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.34/2013.34_web.jpg", "width": "748", "height": "893", "filesize": "92730", "filename": "2013.34_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.34/2013.34_print.jpg", "width": "2849", "height": "3400", "filesize": "1015514", "filename": "2013.34_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.34/2013.34_full.tif", "width": "5739", "height": "6847", "filesize": "117910524", "filename": "2013.34_full.tif"}}, "alternate_images": [{"date_created": "2013-10-10T11:47:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.34/2013.34_alt0_web.jpg", "width": "670", "height": "893", "filesize": "98322"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.34/2013.34_alt0_print.jpg", "width": "2550", "height": "3400", "filesize": "1024550"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.34/2013.34_alt0_full.tif", "width": "6000", "height": "8000", "filesize": "144023596"}}, {"date_created": "2013-10-10T11:37:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.34/2013.34_alt1_web.jpg", "width": "752", "height": "893", "filesize": "124563"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.34/2013.34_alt1_print.jpg", "width": "2862", "height": "3400", "filesize": "1707191"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.34/2013.34_alt1_full.tif", "width": "5846", "height": "6943", "filesize": "121791964"}}], "creditline": "The A. W. Ellenberger, Sr., Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170863, "creators": [{"id": 63623, "description": "Kenneth Macleay (Scottish, 1802\u20131878)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1802", "death_year": "1878", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-05-28T00:00:00", "sortable_date": 1825, "date_added_to_oa": null, "date_text": "1825", "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": "2026-05-01 06:53:23.942000"}, {"id": 171340, "accession_number": "2014.16", "share_license_status": "Copyrighted", "tombstone": "Fast Company, 1954. Deborah Williams Remington (American, 1930\u20132010). Color lithograph; sheet: 44.3 x 63.5 cm (17 7/16 x 25 in.); image: 54.5 x 38 cm (21 7/16 x 14 15/16 in.). The Cleveland Museum of Art, Gift of the Deborah Remington Charitable Trust for the Visual Arts, 2014.16. \u00a9 Deborah Remington Charitable Trust for the Visual Arts/Licensed by VAGA, New York, NY", "current_location": null, "title": "Fast Company", "creation_date": "1954", "creation_date_earliest": 1954, "creation_date_latest": 1954, "artists_tags": ["female"], "culture": ["America"], "technique": "color lithograph", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Prints", "collection": "Prints", "type": "Print", "measurements": "Sheet: 44.3 x 63.5 cm (17 7/16 x 25 in.); Image: 54.5 x 38 cm (21 7/16 x 14 15/16 in.)", "dimensions": {"sheet": {"height": 0.443, "height_inch": 17, "height_inch_fraction": 0.4375, "width": 0.635, "width_inch": 25, "width_inch_fraction": 0.0}, "image": {"height": 0.545, "height_inch": 21, "height_inch_fraction": 0.4375, "width": 0.38, "width_inch": 14, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Deborah Remington Charitable Trust for the Visual Arts/Licensed by VAGA, New York, NY", "inscriptions": [{"inscription": "Below image, left, in graphite: Fast Company; below image, right, in graphite: D. Remington '53\r\nVerso, in graphite, upper left: \"FAST COMPANY\"\t\r\nVerso, on mat, in graphite, reading from upper left to right: remnant of torn off green label: TITLE: F /  NAME; DEBORAH REMINGTON / 1215 PACIFIC ST. / SAN FRANCISCO, CALIF; TITLE - \"FAST COMPANY\" / PRICE - $50.00 / MEDIUM - Color lithograph\r\nVerso: glued on mat and masking tape, typewritten on white paper: DEBORAH REMINGTON / UNITED STATES / 369 FAST COMPANY / 50.00 / lent by artist\t\r\nVerso, glued on top of above paper and on window mat, and on masking tape with masking tape on upper right, left, and bottom of white paper, typewritten on white paper: This print exhibited in Cincinnati / 3rd International Color Lithograph / Show (1954) and is currently being / shown in Paris, France in a traveling / international show.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081584"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.16", "images": {}, "alternate_images": [], "creditline": "Gift of the Deborah Remington Charitable Trust for the Visual Arts", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171340, "creators": [{"id": 40571, "description": "Deborah Williams Remington (American, 1930\u20132010)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1930", "death_year": "2010", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1954, "date_added_to_oa": null, "date_text": "1954", "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": "2026-05-01 06:53:27.275000"}, {"id": 171384, "accession_number": "2014.199", "share_license_status": "Copyrighted", "tombstone": "Peacocks (upright), 1905. Edward Julius Detmold (British, 1883\u20131957), and Charles Maurice Detmold (British, 1883\u20131908). Etching; platemark: 18.4 x 11.4 cm (7 1/4 x 4 1/2 in.); sheet: 30.9 x 23.2 cm (12 3/16 x 9 1/8 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2014.199", "current_location": null, "title": "Peacocks (upright)", "creation_date": "1905", "creation_date_earliest": 1905, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "etching", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 18.4 x 11.4 cm (7 1/4 x 4 1/2 in.); Sheet: 30.9 x 23.2 cm (12 3/16 x 9 1/8 in.)", "dimensions": {"sheet": {"height": 0.309, "height_inch": 12, "height_inch_fraction": 0.1875, "width": 0.232, "width_inch": 9, "width_inch_fraction": 0.125}, "platemark": {"height": 0.184, "height_inch": 7, "height_inch_fraction": 0.25, "width": 0.114, "width_inch": 4, "width_inch_fraction": 0.5}}, "state_of_the_work": "IV/V", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right in pencil, E.J. Detmold", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "signed lower left in pencil, M.D. E.J.D", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "below image, left, in graphite: M.D. / E.J.D", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "below image, right, in graphite: E.L. Detmold", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "lower left corner, in graphite: Peacocks (Upright)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081703"], "internet_archive": ["https://archive.org/details/clevelandart-2014.199-peacocks-upright"]}, "citations": [], "catalogue_raisonne": "Dodgson, Campbell. \"Maurice and Edward Detmold,\" in The Print Collector's Quarterly. (London: J.M. D", "url": "https://clevelandart.org/art/2014.199", "images": {}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171384, "creators": [{"id": 27019, "description": "Edward Julius Detmold (British, 1883\u20131957)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 27022, "description": "Charles Maurice Detmold (British, 1883\u20131908)", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1908", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "1905", "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": "2026-05-01 06:53:27.644000"}, {"id": 171422, "accession_number": "2014.229", "share_license_status": "Copyrighted", "tombstone": "Orvieto Roofs, 1926. William Evan Charles Morgan (British, 1903\u20131979?). Engraving; sheet: 26.3 x 40.1 cm (10 3/8 x 15 13/16 in.); platemark: 15.5 x 19 cm (6 1/8 x 7 1/2 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2014.229", "current_location": null, "title": "Orvieto Roofs", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "engraving", "support_materials": [{"description": "laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Sheet: 26.3 x 40.1 cm (10 3/8 x 15 13/16 in.); Platemark: 15.5 x 19 cm (6 1/8 x 7 1/2 in.)", "dimensions": {"sheet": {"height": 0.263, "height_inch": 10, "height_inch_fraction": 0.375, "width": 0.401, "width_inch": 15, "width_inch_fraction": 0.8125}, "platemark": {"height": 0.155, "height_inch": 6, "height_inch_fraction": 0.125, "width": 0.19, "width_inch": 7, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Lower left, in graphite: Orvieto Roofs. 5/50; lower right, in graphite: William E.C. Morgan. 1926\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "[Hatay-Stratton, MA June 28, 1985]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081813"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.229", "images": {}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171422, "creators": [{"id": 47714, "description": "William Evan Charles Morgan (British, 1903\u20131979?)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1903", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "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": "5/50", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:53:27.907000"}, {"id": 171448, "accession_number": "2014.249", "share_license_status": "CC0", "tombstone": "The Woodman, 1881. William Strang (British, 1859\u20131921), Published in The Etcher. Etching; sheet: 35 x 28.8 cm (13 3/4 x 11 5/16 in.); platemark: 22.7 x 17.5 cm (8 15/16 x 6 7/8 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2014.249", "current_location": null, "title": "The Woodman", "creation_date": "1881", "creation_date_earliest": 1881, "creation_date_latest": 1881, "artists_tags": ["male"], "culture": ["Italy, 19th century"], "technique": "etching", "support_materials": [{"description": "laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 35 x 28.8 cm (13 3/4 x 11 5/16 in.); Platemark: 22.7 x 17.5 cm (8 15/16 x 6 7/8 in.)", "dimensions": {"sheet": {"height": 0.35, "height_inch": 13, "height_inch_fraction": 0.75, "width": 0.288, "width_inch": 11, "width_inch_fraction": 0.3125}, "platemark": {"height": 0.227, "height_inch": 8, "height_inch_fraction": 0.9375, "width": 0.175, "width_inch": 6, "width_inch_fraction": 0.875}}, "state_of_the_work": "?/IV", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Lower right, in graphite: WM Strang.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081882"], "internet_archive": ["https://archive.org/details/clevelandart-2014.249-the-woodman"]}, "citations": [], "catalogue_raisonne": "William Strang: Supplement to the Catalogue of His Etched Work 1882-1912.( Glasgow: Maclehose, Jacks", "url": "https://clevelandart.org/art/2014.249", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.249/2014.249_web.jpg", "width": "708", "height": "900", "filesize": "305883", "filename": "2014.249_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.249/2014.249_print.jpg", "width": "2675", "height": "3400", "filesize": "4036786", "filename": "2014.249_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.249/2014.249_full.tif", "width": "5719", "height": "7270", "filesize": "124764348", "filename": "2014.249_full.tif"}}, "alternate_images": [{"date_created": "2017-01-03T09:12:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.249/2014.249_alt0_web.jpg", "width": "740", "height": "900", "filesize": "211419"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.249/2014.249_alt0_print.jpg", "width": "2795", "height": "3400", "filesize": "3186819"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.249/2014.249_alt0_full.tif", "width": "5818", "height": "7078", "filesize": "123567260"}}], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171448, "creators": [{"id": 1447, "description": "William Strang (British, 1859\u20131921)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1859", "death_year": "1921", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 69110, "description": "Published in The Etcher", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1881, "date_added_to_oa": null, "date_text": "1881", "collapse_artists": true, "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": ["Peasant Couple Seated on a Log"], "is_highlight": false, "updated_at": "2026-05-01 06:53:28.118000"}, {"id": 171453, "accession_number": "2014.251", "share_license_status": "Copyrighted", "tombstone": "The Gamekeeper's Cottage, 1928. Robin Tanner (British, 1904\u20131988). Etching; sheet: 26.1 x 23.9 cm (10 1/4 x 9 7/16 in.); platemark: 17.5 x 22.7 cm (6 7/8 x 8 15/16 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2014.251", "current_location": null, "title": "The Gamekeeper's Cottage", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "etching", "support_materials": [{"description": "laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 26.1 x 23.9 cm (10 1/4 x 9 7/16 in.); Platemark: 17.5 x 22.7 cm (6 7/8 x 8 15/16 in.)", "dimensions": {"sheet": {"height": 0.261, "height_inch": 10, "height_inch_fraction": 0.25, "width": 0.239, "width_inch": 9, "width_inch_fraction": 0.4375}, "platemark": {"height": 0.175, "height_inch": 6, "height_inch_fraction": 0.875, "width": 0.227, "width_inch": 8, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Lower left, in graphite: XIV; lower right, in graphite: Robin Tanner. '28; lower right corner, in graphite: A.B. Bruner  On mat: A.B. Bruner perhaps owner & purch/ from Korner & Wood, Cleve OH.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "A.B. Bruner perhaps purchased from [Corner & Wood, Cleveland]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081895"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Tanner, Robin. Robin Tanner: The Etchings (London: Garton, 1988), pp. 27-29, 146 (repr. p. 26), no. ", "url": "https://clevelandart.org/art/2014.251", "images": {}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171453, "creators": [{"id": 47884, "description": "Robin Tanner (British, 1904\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "14", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:53:28.170000"}, {"id": 171454, "accession_number": "2014.252", "share_license_status": "Copyrighted", "tombstone": "The Road Maker, 1928. Robin Tanner (British, 1904\u20131988). Etching; sheet: 20 x 25.8 cm (7 7/8 x 10 3/16 in.); platemark: 1 x 14.9 cm (3/8 x 5 7/8 in.). 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'28; lower right corner, in graphite: K&W 2560", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Korner & Wood", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081898"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.252", "images": {}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171454, "creators": [{"id": 47884, "description": "Robin Tanner (British, 1904\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:53:28.176000"}, {"id": 171464, "accession_number": "2014.261", "share_license_status": "CC0", "tombstone": "published April 5, 1873: Vanity Fair: Men of the Day, No. 60, \"A Novelist\", 1873. 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Stuart Mill", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081929"], "internet_archive": ["https://archive.org/details/clevelandart-2014.262-vanity-fair-statesma"]}, "citations": [], "url": "https://clevelandart.org/art/2014.262", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.262/2014.262_web.jpg", "width": "564", "height": "900", "filesize": "169600", "filename": "2014.262_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.262/2014.262_print.jpg", "width": "2130", "height": "3400", "filesize": "2271415", "filename": "2014.262_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.262/2014.262_full.tif", "width": "3897", "height": "6221", "filesize": "72759760", "filename": "2014.262_full.tif"}}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171465, "creators": [{"id": 27664, "description": "Leslie Matthew (Spy) Ward (British, 1851\u20131922)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1851", "death_year": "1922", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "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": "2026-05-01 06:53:28.250000"}, {"id": 171542, "accession_number": "2014.331", "share_license_status": "Copyrighted", "tombstone": "Warmachines I, 1991. 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Platinum print; image: 9.3 x 11.5 cm (3 11/16 x 4 1/2 in.); paper: 9.5 x 11.8 cm (3 3/4 x 4 5/8 in.); mounted, primary: 10.6 x 13 cm (4 3/16 x 5 1/8 in.); mounted, secondary: 10.9 x 13.2 cm (4 5/16 x 5 3/16 in.); image with black margin: 9.5 x 11.8 cm (3 3/4 x 4 5/8 in.). The Cleveland Museum of Art, Gift of Jon and Nicky Ungar, 2014.445", "current_location": null, "title": "Apartments and Street, Along Lake", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["America"], "technique": "platinum print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 9.3 x 11.5 cm (3 11/16 x 4 1/2 in.); Paper: 9.5 x 11.8 cm (3 3/4 x 4 5/8 in.); Mounted, primary: 10.6 x 13 cm (4 3/16 x 5 1/8 in.); Mounted, secondary: 10.9 x 13.2 cm (4 5/16 x 5 3/16 in.); Image with black margin: 9.5 x 11.8 cm (3 3/4 x 4 5/8 in.)", "dimensions": {"image": {"height": 0.093, "height_inch": 3, "height_inch_fraction": 0.6875, "width": 0.115, "width_inch": 4, "width_inch_fraction": 0.5}, "paper": {"height": 0.095, "height_inch": 3, "height_inch_fraction": 0.75, "width": 0.118, "width_inch": 4, "width_inch_fraction": 0.625}, "mounted, primary": {"height": 0.106, "height_inch": 4, "height_inch_fraction": 0.1875, "width": 0.13, "width_inch": 5, "width_inch_fraction": 0.125}, "mounted, secondary": {"height": 0.109, "height_inch": 4, "height_inch_fraction": 0.3125, "width": 0.132, "width_inch": 5, "width_inch_fraction": 0.1875}, "image with black margin": {"height": 0.095, "height_inch": 3, "height_inch_fraction": 0.75, "width": 0.118, "width_inch": 4, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist stamp on verso of image: \"From the Estate/of Karl Struss/KS\"\r\nWritten in pencil on primary mount: \"1909\"\r\nStamped in black ink on verso of secondary mount: \"Richard Carlton RHEA/Collection/Los Angeles CA\"\r\nWritten in pencil on verso: \"Apartments and Street/Along Lane\"\r\nWritten in pencil on verso: \"RCR-2 (erased)\"\r\nWritten in pencil on verso: \"GVS.27.87\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082435"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.445", "images": {}, "alternate_images": [], "creditline": "Gift of Jon and Nicky Ungar", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171683, "creators": [{"id": 970, "description": "Karl F. Struss (American, 1886\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karl F. Struss American, 1886-1981\r\n\r\nBorn and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar.\r\n\tA student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915.\r\n\tShortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "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": "2026-05-01 06:53:29.820000"}, {"id": 171780, "accession_number": "2014.53", "share_license_status": "CC0", "tombstone": "Fondamenta della Zattere, 1880. Otto H. Bacher (American, 1856\u20131909). Etching on chine coll\u00e9; sheet: 35.8 x 45.6 cm (14 1/8 x 17 15/16 in.); platemark: 7.7 x 25.5 cm (3 1/16 x 10 1/16 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2014.53", "current_location": null, "title": "Fondamenta della Zattere", "creation_date": "1880", "creation_date_earliest": 1880, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["America"], "technique": "etching on chine coll\u00e9", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 35.8 x 45.6 cm (14 1/8 x 17 15/16 in.); Platemark: 7.7 x 25.5 cm (3 1/16 x 10 1/16 in.)", "dimensions": {"sheet": {"height": 0.358, "height_inch": 14, "height_inch_fraction": 0.125, "width": 0.456, "width_inch": 17, "width_inch_fraction": 0.9375}, "platemark": {"height": 0.077, "height_inch": 3, "height_inch_fraction": 0.0625, "width": 0.255, "width_inch": 10, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082654"], "internet_archive": ["https://archive.org/details/clevelandart-2014.53-fondamenta-della-zat"]}, "citations": [], "catalogue_raisonne": "Andrews 17", "url": "https://clevelandart.org/art/2014.53", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.53/2014.53_web.jpg", "width": "900", "height": "646", "filesize": "261372", "filename": "2014.53_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.53/2014.53_print.jpg", "width": "3400", "height": "2440", "filesize": "2938545", "filename": "2014.53_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.53/2014.53_full.tif", "width": "6789", "height": "4872", "filesize": "99260732", "filename": "2014.53_full.tif"}}, "alternate_images": [{"date_created": "2017-01-05T11:30:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.53/2014.53_alt0_web.jpg", "width": "900", "height": "712", "filesize": "142313"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.53/2014.53_alt0_print.jpg", "width": "3400", "height": "2688", "filesize": "1742318"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.53/2014.53_alt0_full.tif", "width": "6564", "height": "5189", "filesize": "102211624"}}], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171780, "creators": [{"id": 3002, "description": "Otto H. Bacher (American, 1856\u20131909)", "extent": null, "qualifier": null, "role": "artist", "biography": "Painter and printmaker Otto Bacher was the first artist from Cleveland to earn international renown in the art world. Born in Cleveland, Bacher grew up in a neighborhood bordering the east bank of the Cuyahoga River near the mouth of Lake Erie. A childhood pastime of sketching shipping activities in the busy port eventually led to a job painting inscriptions on commercial vessels. He became interested in art during his teen years and studied with De Scott Evans and also learned from Willis Seaver Adams and Sion Wenban. In 1876 Bacher helped found the Art Club and had a solo show at the Kemmer and Kushman Decorating Company. The following year he had his second solo exhibition, at J. W. Sargeant\u2019 s Art Shop. He traveled to Europe in 1878, attended the Munich Royal Academy, and studied with Cincinnati native Frank Duveneck in Munich, Florence, and Venice. A chance meeting in Venice with James A. McNeill Whistler in 1880 led to a long friendship that had a decisive effect on Bacher\u2019 s etching style. In 1883 Bacher returned to Cleveland and began teaching at the Cleveland Academy of Art and privately at a summer retreat he organized in Richfield, Ohio. He returned to Europe in 1885, hoping to stay for an extended period, but his financial situation forced him to come back to America. After a brief visit to Cleveland, Bacher settled in New York City. To support himself, he did illustrations for <em>Century Magazine</em> in 1888. In 1895 he moved to Bronxville, New York, and by that time his artistic style revealed a strong debt to impressionism. During the last two decades of his life, he exhibited in New York, London, Paris, St. Louis, Philadelphia, and Cleveland. Bacher died in Bronxville.<br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 222.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1909", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880", "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": "2026-05-01 06:53:30.588000"}, {"id": 171806, "accession_number": "2014.553", "share_license_status": "Copyrighted", "tombstone": "Snapshot - Simplon Pass, 1909. Karl F. Struss (American, 1886\u20131981). Gelatin silver print; image: 7 x 9.5 cm (2 3/4 x 3 3/4 in.); paper: 7.7 x 10.2 cm (3 1/16 x 4 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2014.553", "current_location": null, "title": "Snapshot - Simplon Pass", "creation_date": "1909", "creation_date_earliest": 1904, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 7 x 9.5 cm (2 3/4 x 3 3/4 in.); Paper: 7.7 x 10.2 cm (3 1/16 x 4 in.)", "dimensions": {"image": {"height": 0.07, "height_inch": 2, "height_inch_fraction": 0.75, "width": 0.095, "width_inch": 3, "width_inch_fraction": 0.75}, "paper": {"height": 0.077, "height_inch": 3, "height_inch_fraction": 0.0625, "width": 0.102, "width_inch": 4, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in black ink on verso: \"Snapshot-Simplon Pass/1909\"\r\nWritten in pencil on verso: \"RCR\"\r\nPartially erased pencil inscription [illegible]  is located in the upper left hand corner.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082707"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.553", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171806, "creators": [{"id": 970, "description": "Karl F. Struss (American, 1886\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karl F. Struss American, 1886-1981\r\n\r\nBorn and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar.\r\n\tA student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915.\r\n\tShortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "1909", "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": "2026-05-01 06:53:30.763000"}, {"id": 171814, "accession_number": "2014.560", "share_license_status": "Copyrighted", "tombstone": "European Street Scene, 1909. Karl F. Struss (American, 1886\u20131981). Gelatin silver print; image: 7 x 9.6 cm (2 3/4 x 3 3/4 in.); mounted: 7.8 x 10.4 cm (3 1/16 x 4 1/8 in.); paper: 7 x 9.6 cm (2 3/4 x 3 3/4 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2014.560", "current_location": null, "title": "European Street Scene", "creation_date": "1909", "creation_date_earliest": 1904, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 7 x 9.6 cm (2 3/4 x 3 3/4 in.); Mounted: 7.8 x 10.4 cm (3 1/16 x 4 1/8 in.); Paper: 7 x 9.6 cm (2 3/4 x 3 3/4 in.)", "dimensions": {"image": {"height": 0.07, "height_inch": 2, "height_inch_fraction": 0.75, "width": 0.096, "width_inch": 3, "width_inch_fraction": 0.75}, "mounted": {"height": 0.078, "height_inch": 3, "height_inch_fraction": 0.0625, "width": 0.104, "width_inch": 4, "width_inch_fraction": 0.125}, "paper": {"height": 0.07, "height_inch": 2, "height_inch_fraction": 0.75, "width": 0.096, "width_inch": 3, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso: \"PK435\"\r\nStamped in black ink on verso: \"Powell Yong Rhea/998 4th Ave./(missing rest of stamp)\r\nWritten in pencil on verso: \"X\"\r\nArtist stamp on verso: \"From the Estate/of Karl Struss/KS\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082723"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.560", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171814, "creators": [{"id": 970, "description": "Karl F. Struss (American, 1886\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karl F. Struss American, 1886-1981\r\n\r\nBorn and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar.\r\n\tA student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915.\r\n\tShortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "1909", "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": "2026-05-01 06:53:30.843000"}, {"id": 171846, "accession_number": "2014.59", "share_license_status": "Copyrighted", "tombstone": "5 Avenue Thiers, 1939. John Bonebrake (American, 1918\u20132011). Etching; sheet: 30 x 20 cm (11 13/16 x 7 7/8 in.); platemark: 17.6 x 13 cm (6 15/16 x 5 1/8 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2014.59", "current_location": null, "title": "5 Avenue Thiers", "creation_date": "1939", "creation_date_earliest": 1939, "creation_date_latest": 1939, "artists_tags": ["male"], "culture": ["United States"], "technique": "etching", "support_materials": [{"description": "laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 30 x 20 cm (11 13/16 x 7 7/8 in.); Platemark: 17.6 x 13 cm (6 15/16 x 5 1/8 in.)", "dimensions": {"sheet": {"height": 0.3, "height_inch": 11, "height_inch_fraction": 0.8125, "width": 0.2, "width_inch": 7, "width_inch_fraction": 0.875}, "platemark": {"height": 0.176, "height_inch": 6, "height_inch_fraction": 0.9375, "width": 0.13, "width_inch": 5, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Below image, lower left corner in ink: 5 Avenue Thiers; lower right corner, in ink: John C. Bonebrake 1939; on mat: Made at the American School of Fine Art, Fontainebleau, France, House of John Bonebrake's aunt, Germaine Maresquier Macgregor's sister", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082789"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.59", "images": {}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171846, "creators": [{"id": 21528, "description": "John Bonebrake (American, 1918\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1939, "date_added_to_oa": null, "date_text": "1939", "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": "2026-05-01 06:53:31.057000"}, {"id": 171910, "accession_number": "2014.637", "share_license_status": "Copyrighted", "tombstone": "A Demonstration in Support of Julius and Ethel Rosenberg, Union Square, New York City, 1951. Dennis Stock (American, 1928\u20132010). Gelatin silver print; image: 23.6 x 26.4 cm (9 5/16 x 10 3/8 in.); paper: 23.6 x 26.4 cm (9 5/16 x 10 3/8 in.). 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Auguste Louis Lep\u00e8re (French, 1849\u20131918), published in L'Estampe Originale. Wood engraving; sheet: 26.6 x 35 cm (10 1/2 x 13 3/4 in.); image: 16.8 x 26.5 cm (6 5/8 x 10 7/16 in.). The Cleveland Museum of Art, Gift of Dr. Irving and Enid Kushner, 2014.658", "current_location": null, "title": "La Seine au Pont d'Austerlitz", "creation_date": "1866", "creation_date_earliest": 1866, "creation_date_latest": 1866, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "wood engraving", "support_materials": [{"description": "tissue", "watermarks": []}], "department": "Prints", "collection": "Prints", "type": "Print", "measurements": "Sheet: 26.6 x 35 cm (10 1/2 x 13 3/4 in.); Image: 16.8 x 26.5 cm (6 5/8 x 10 7/16 in.)", "dimensions": {"sheet": {"height": 0.266, "height_inch": 10, "height_inch_fraction": 0.5, "width": 0.35, "width_inch": 13, "width_inch_fraction": 0.75}, "image": {"height": 0.168, "height_inch": 6, "height_inch_fraction": 0.625, "width": 0.265, "width_inch": 10, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed in plate, lower right: A Lepere\r\nDealer's notation on mat, lower right, in graphite: one of 20 impressions without the stamp of L'Estampe Originale", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "collection of Enid and Irving Kushner in Shaker Heights, Ohio", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80083009"], "internet_archive": ["https://archive.org/details/clevelandart-2014.658-la-seine-au-pont-d-a"]}, "citations": [], "catalogue_raisonne": "Lotz-Brissonneau 147", "url": "https://clevelandart.org/art/2014.658", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.658/2014.658_web.jpg", "width": "900", "height": "596", "filesize": "195402", "filename": "2014.658_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.658/2014.658_print.jpg", "width": "3400", "height": "2252", "filesize": "2539121", "filename": "2014.658_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.658/2014.658_full.tif", "width": "5705", "height": "3779", "filesize": "64709468", "filename": "2014.658_full.tif"}}, "alternate_images": [], "creditline": "Gift of Dr. Irving and Enid Kushner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171933, "creators": [{"id": 13243, "description": "Auguste Louis Lep\u00e8re (French, 1849\u20131918)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1849", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 69104, "description": "published in L'Estampe Originale", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866", "collapse_artists": true, "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": "state 11", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:53:31.744000"}, {"id": 172144, "accession_number": "2014.695.w", "share_license_status": "CC0", "tombstone": "L'Estampe Moderne: Les Cygnes, 1899. Francis Jourdain (French, 1876\u20131958). Lithograph in blue; sheet: 39.9 x 30.6 cm (15 11/16 x 12 1/16 in.); image: 23 x 33.5 cm (9 1/16 x 13 3/16 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2014.695.w", "current_location": null, "title": "Les Cygnes", "series": "L'Estampe Moderne", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "Lithograph in blue", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Bound Volume", "measurements": "Sheet: 39.9 x 30.6 cm (15 11/16 x 12 1/16 in.); Image: 23 x 33.5 cm (9 1/16 x 13 3/16 in.)", "dimensions": {"sheet": {"height": 0.399, "height_inch": 15, "height_inch_fraction": 0.6875, "width": 0.306, "width_inch": 12, "width_inch_fraction": 0.0625}, "image": {"height": 0.23, "height_inch": 9, "height_inch_fraction": 0.0625, "width": 0.335, "width_inch": 13, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "upper right corner of sheet: blindstamp of l'Estampe Moderne (Lugt 2790)\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80083604"], "internet_archive": ["https://archive.org/details/clevelandart-2014.695.w-les-cygnes"]}, "citations": [], "catalogue_raisonne": "Laran, Jean et al. Inventaire du fonds fran\u00e7ais apr\u00e8s 1800 (Paris: Biblioth\u00e8que nationale, 1930-ongo", "url": "https://clevelandart.org/art/2014.695.w", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.695.w/2014.695.w_web.jpg", "width": "900", "height": "624", "filesize": "187326", "filename": "2014.695.w_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.695.w/2014.695.w_print.jpg", "width": "3400", "height": "2358", "filesize": "3223927", "filename": "2014.695.w_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.695.w/2014.695.w_full.tif", "width": "5173", "height": "3587", "filesize": "55696712", "filename": "2014.695.w_full.tif"}}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172144, "creators": [{"id": 65692, "description": "Francis Jourdain (French, 1876\u20131958)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1958", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68279, "description": "Imprimerie Champenois", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2014.695", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:53:33.417000"}, {"id": 172145, "accession_number": "2014.695.ww", "share_license_status": "CC0", "tombstone": "L'Estampe Moderne: La Poup\u00e9e, 1899. Marguerite Delorme (French, 1876\u20131946), Imprimerie Champenois. Color lithograph from bound volume containing 50 lithographs, each with a tissue paper guard; sheet: 39.9 x 30.5 cm (15 11/16 x 12 in.); image: 34.6 x 22.5 cm (13 5/8 x 8 7/8 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2014.695.ww", "current_location": null, "title": "La Poup\u00e9e", "series": "L'Estampe Moderne", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["female"], "culture": ["France, 19th century"], "technique": "Color lithograph from bound volume containing 50 lithographs, each with a tissue paper guard", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Bound Volume", "measurements": "Sheet: 39.9 x 30.5 cm (15 11/16 x 12 in.); Image: 34.6 x 22.5 cm (13 5/8 x 8 7/8 in.)", "dimensions": {"sheet": {"height": 0.399, "height_inch": 15, "height_inch_fraction": 0.6875, "width": 0.305, "width_inch": 12, "width_inch_fraction": 0.0}, "image": {"height": 0.346, "height_inch": 13, "height_inch_fraction": 0.625, "width": 0.225, "width_inch": 8, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In plate, upper right corner of image: Marguerite Delorme; lower right corner of sheet: blindstamp of L'Estampe Moderne (Lugt 2790)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80083606"], "internet_archive": ["https://archive.org/details/clevelandart-2014.695.ww-la-poupee"]}, "citations": [], "catalogue_raisonne": "Laran, Jean et al. Inventaire du fonds fran\u00e7ais apr\u00e8s 1800 (Paris: Biblioth\u00e8que nationale, 1930-ongo", "url": "https://clevelandart.org/art/2014.695.ww", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.695.ww/2014.695.ww_web.jpg", "width": "626", "height": "900", "filesize": "206087", "filename": "2014.695.ww_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.695.ww/2014.695.ww_print.jpg", "width": "2366", "height": "3400", "filesize": "2825136", "filename": "2014.695.ww_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.695.ww/2014.695.ww_full.tif", "width": "3784", "height": "5438", "filesize": "61762976", "filename": "2014.695.ww_full.tif"}}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172145, "creators": [{"id": 65740, "description": "Marguerite Delorme (French, 1876\u20131946)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68279, "description": "Imprimerie Champenois", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2014.695", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:53:33.425000"}, {"id": 172479, "accession_number": "2015.117", "share_license_status": "CC0", "tombstone": "Intermezzos, Opus IV: Simplicius among the Soldiers, 1881. Max Klinger (German, 1857\u20131920). Etching and aquatint on chine coll\u00e9; sheet: 44 x 63 cm (17 5/16 x 24 13/16 in.); platemark: 27 x 43 cm (10 5/8 x 16 15/16 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2015.117", "current_location": null, "title": "Simplicius among the Soldiers", "series": "Intermezzos, Opus IV", "creation_date": "1881", "creation_date_earliest": 1881, "creation_date_latest": 1881, "artists_tags": ["male"], "culture": ["Germany, 19th-20th century"], "technique": "etching and aquatint on chine coll\u00e9", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 44 x 63 cm (17 5/16 x 24 13/16 in.); Platemark: 27 x 43 cm (10 5/8 x 16 15/16 in.)", "dimensions": {"sheet": {"height": 0.44, "height_inch": 17, "height_inch_fraction": 0.3125, "width": 0.63, "width_inch": 24, "width_inch_fraction": 0.8125}, "platemark": {"height": 0.27, "height_inch": 10, "height_inch_fraction": 0.625, "width": 0.43, "width_inch": 16, "width_inch_fraction": 0.9375}}, "state_of_the_work": "I/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "(in plate) lower left, below image: \"Max Klinger\"; lower right corner, below image: \"IX\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80084465"], "internet_archive": ["https://archive.org/details/clevelandart-2015.117-simplicius-among-the"]}, "citations": [], "catalogue_raisonne": "Singer, no. 60", "url": "https://clevelandart.org/art/2015.117", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2015.117/2015.117_web.jpg", "width": "900", "height": "632", "filesize": "243748", "filename": "2015.117_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2015.117/2015.117_print.jpg", "width": "3400", "height": "2387", "filesize": "3184866", "filename": "2015.117_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2015.117/2015.117_full.tif", "width": "13198", "height": "9265", "filesize": "366865476", "filename": "2015.117_full.tif"}}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172479, "creators": [{"id": 23790, "description": "Max Klinger (German, 1857\u20131920)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1857", "death_year": "1920", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-09-08T00:00:00", "sortable_date": 1881, "date_added_to_oa": null, "date_text": "1881", "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": ["Swordsmen (Plate IX)", "Intermezzos, Opus IV, Pl. 9: Simplicius among the Soldiers (Intermezzi, Opus IV, Bl.  9: Simplicius under den soldaten)"], "is_highlight": false, "updated_at": "2026-05-01 06:53:35.747000"}, {"id": 86153, "accession_number": "2015.212", "share_license_status": "Copyrighted", "tombstone": "Forty Second Street Looking Towards Second Avenue, 1922. Ralph Steiner (American, 1899\u20131986). Gelatin silver print ; image: 9.4 x 12.2 cm (3 11/16 x 4 13/16 in.); paper: 10 x 12.8 cm (3 15/16 x 5 1/16 in.). The Cleveland Museum of Art, Gift of Therese and Murray Weiss, 2015.212. \u00a9 Estate of Ralph Steiner", "current_location": null, "title": "Forty Second Street Looking Towards Second Avenue", "creation_date": "1922", "creation_date_earliest": 1922, "creation_date_latest": 1922, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "Gelatin silver print ", "support_materials": [], "department": "Photography", "collection": "Photography", "type": "Photograph", "measurements": "Image: 9.4 x 12.2 cm (3 11/16 x 4 13/16 in.); Paper: 10 x 12.8 cm (3 15/16 x 5 1/16 in.)", "dimensions": {"image": {"height": 0.094, "height_inch": 3, "height_inch_fraction": 0.6875, "width": 0.122, "width_inch": 4, "width_inch_fraction": 0.8125}, "paper": {"height": 0.1, "height_inch": 3, "height_inch_fraction": 0.9375, "width": 0.128, "width_inch": 5, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ralph Steiner", "inscriptions": [{"inscription": "Written in pencil on verso: \"Ralph Steiner (signed) c. 1922/1981\r\nCommercially imprinted on verso of paper: \"Agfa\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79472238"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2015.212", "images": {}, "alternate_images": [], "creditline": "Gift of Therese and Murray Weiss", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86153, "creators": [{"id": 944, "description": "Ralph Steiner (American, 1899\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ralph Steiner American, 1899-1986 Ralph Steiner (born in Cleveland) was a modernist photographer and filmmaker known for his clear, sharply focused images of everyday America. Having developed an early interest in photography, Steiner spent the year following graduation from Dartmouth College studying at the Clarence H. White School of Photography in New York (1921-22). He worked as a plate engraver at the Manhattan Photogravure Company, then undertook a career as a magazine and advertising photographer. Deeply impressed by the technical quality of Paul Strand's pictures, Steiner spent the summer and early fall of 1929 improving his own technical skills. That same year he also began experimenting with filmmaking, producing the avant-garde film H2O. During the 1930s he continued to make films, producing Surf and Seaweed, Mechanical Principles, and Pie in the Sky. In 1935 Steiner joined Strand as a cameraman on Pare Lorentz's documentary film, The Plow that Broke the Plains, and several years later collaborated with photographer Willard Van Dyke on The City, a documentary shown at the 1939 New York World's Fair. In the early 1940s Steiner moved to Hollywood, where he worked for mgm and rko. Upon his return to New York later in the decade, he resumed his career as a commercial photographer. During the 1960s he was able to spend more time doing his own work, producing both photographs and films. His autobiography, A Point of View (1978), was followed by a book of his cloud photographs, In Pursuit of Clouds (1985). 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Since the 1980s, Lyon has traveled to Colombia to photograph street children and prostitutes (The Paper Negative, 1980) and to Haiti to cover the events leading up to the collapse of the Duvalier regime in 1986. His own family has also become a continued subject of his work. Parallel to his photography, Lyon has made numerous films that are shown regularly in universities across the United States: Social Sciences 127 (1969), Llanito (1971), El Mojado (1973), Los Ni\u00f1os Abandonados (1975), Dear Mark (1975-80), Little Boy (1977), Willie (1986-87), and Media Man (c. 1993). He has published his own works since 1988 under the imprint Bleak Beauty Books, in collaboration with his wife, Nancy Lyon, and Michael Hausman. Lyon has also taught nonfiction film at the State University of New York at Buffalo (1986) and at Columbia University (1987-90). Among his honors are fellowships from the John Simon Guggenheim Memorial Foundation (1969, 1979) and the Rockefeller Foundation (1990). 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Struss (American, 1886\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karl F. Struss American, 1886-1981\r\n\r\nBorn and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar.\r\n\tA student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915.\r\n\tShortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. 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Thomas Browne Cornell (American, 1937\u20132012). Engraving, printed with brown ink; sheet: 30 x 30.5 cm (11 13/16 x 12 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). 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Maurice Delcourt (French, 1877\u20131917). Color woodcut and soft-ground etching; image: 32.4 x 19.1 cm (12 3/4 x 7 1/2 in.); sheet: 43.3 x 28.6 cm (17 1/16 x 11 1/4 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). 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Henri Georges J. I. Meunier (Belgian, 1873\u20131922). Color lithograph; image: 34.4 x 23.3 cm (13 9/16 x 9 3/16 in.); sheet: 40.6 x 30.6 cm (16 x 12 1/16 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer, 2016.222", "current_location": null, "title": "L'Heure du silence", "creation_date": "1897", "creation_date_earliest": 1897, "creation_date_latest": 1897, "artists_tags": ["male"], "culture": ["Belgium"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Print", "measurements": "Image: 34.4 x 23.3 cm (13 9/16 x 9 3/16 in.); Sheet: 40.6 x 30.6 cm (16 x 12 1/16 in.); Matted: 50.8 x 40.6 cm (20 x 16 in.)", "dimensions": {"image": {"height": 0.344, "height_inch": 13, "height_inch_fraction": 0.5625, "width": 0.233, "width_inch": 9, "width_inch_fraction": 0.1875}, "sheet": {"height": 0.406, "height_inch": 16, "height_inch_fraction": 0.0, "width": 0.306, "width_inch": 12, "width_inch_fraction": 0.0625}, "matted": {"height": 0.508, "height_inch": 20, "height_inch_fraction": 0.0, "width": 0.406, "width_inch": 16, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79471614"], "internet_archive": ["https://archive.org/details/clevelandart-2016.222-l-heure-du-silence"]}, "citations": [], "url": "https://clevelandart.org/art/2016.222", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2016.222/2016.222_web.jpg", "width": "619", "height": "900", "filesize": "137722", "filename": "2016.222_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2016.222/2016.222_print.jpg", "width": "2339", "height": "3400", "filesize": "1704734", "filename": "2016.222_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2016.222/2016.222_full.tif", "width": "4394", "height": "6387", "filesize": "84224476", "filename": "2016.222_full.tif"}}, "alternate_images": [{"date_created": "2015-12-14T15:09:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.222/2016.222_alt0_web.jpg", "width": "616", "height": "900", "filesize": "162641"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.222/2016.222_alt0_print.jpg", "width": "2328", "height": "3400", "filesize": "2140661"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.222/2016.222_alt0_full.tif", "width": "4117", "height": "6012", "filesize": "74285256"}}], "creditline": "Bequest of Elizabeth Carroll Shearer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 79261, "creators": [{"id": 66612, "description": "Henri Georges J. 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Lithograph; sheet: 42.5 x 24.1 cm (16 3/4 x 9 1/2 in.); matted: 48.9 x 36.2 cm (19 1/4 x 14 1/4 in.). 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H. W. Simpson (American, b. 1920). Engraving; image: 12.9 x 11.4 cm (5 1/16 x 4 1/2 in.); sheet: 26.7 x 20.5 cm (10 1/2 x 8 1/16 in.); matted: 48.9 x 36.2 cm (19 1/4 x 14 1/4 in.). The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer, 2016.242", "current_location": null, "title": "Cable Layers Cart", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["United States"], "technique": "engraving", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Print", "measurements": "Image: 12.9 x 11.4 cm (5 1/16 x 4 1/2 in.); Sheet: 26.7 x 20.5 cm (10 1/2 x 8 1/16 in.); Matted: 48.9 x 36.2 cm (19 1/4 x 14 1/4 in.)", "dimensions": {"image": {"height": 0.129, "height_inch": 5, "height_inch_fraction": 0.0625, "width": 0.114, "width_inch": 4, "width_inch_fraction": 0.5}, "sheet": {"height": 0.267, "height_inch": 10, "height_inch_fraction": 0.5, "width": 0.205, "width_inch": 8, "width_inch_fraction": 0.0625}, "matted": {"height": 0.489, "height_inch": 19, "height_inch_fraction": 0.25, "width": 0.362, "width_inch": 14, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79471670"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2016.242", "images": {}, "alternate_images": [], "creditline": "Bequest of Elizabeth Carroll Shearer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 79373, "creators": [{"id": 290236, "description": "H. W. Simpson (American, b. 1920)", "extent": null, "qualifier": null, "role": "artist", "biography": "American architect, active 20th century", "name_in_original_language": null, "birth_year": "1920", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-09-06T00:00:00-04:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "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": "2026-05-01 06:45:27.252000"}, {"id": 290283, "accession_number": "2016.312", "share_license_status": "Copyrighted", "tombstone": "Lollipop, 1923. Ralph Steiner (American, 1899\u20131986). Gelatin silver print; image: 11.6 x 8.9 cm (4 9/16 x 3 1/2 in.); paper: 11.6 x 8.9 cm (4 9/16 x 3 1/2 in.); mounted: 43.1 x 35.5 cm (16 15/16 x 14 in.). The Cleveland Museum of Art, Gift of Murray and Therese Weiss, 2016.312. \u00a9 Estate of Ralph Steiner", "current_location": null, "title": "Lollipop", "creation_date": "1923", "creation_date_earliest": 1923, "creation_date_latest": 1923, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "Gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 11.6 x 8.9 cm (4 9/16 x 3 1/2 in.); Paper: 11.6 x 8.9 cm (4 9/16 x 3 1/2 in.); Mounted: 43.1 x 35.5 cm (16 15/16 x 14 in.)", "dimensions": {"image": {"height": 0.116, "height_inch": 4, "height_inch_fraction": 0.5625, "width": 0.089, "width_inch": 3, "width_inch_fraction": 0.5}, "paper": {"height": 0.116, "height_inch": 4, "height_inch_fraction": 0.5625, "width": 0.089, "width_inch": 3, "width_inch_fraction": 0.5}, "mounted": {"height": 0.431, "height_inch": 16, "height_inch_fraction": 0.9375, "width": 0.355, "width_inch": 14, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ralph Steiner", "inscriptions": [{"inscription": "Written in pencil on recto of mount: \u201cRalph Steiner, 1922\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79864416"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2016.312", "images": {}, "alternate_images": [], "creditline": "Gift of Murray and Therese Weiss", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 290283, "creators": [{"id": 290276, "description": "Ralph Steiner (American, 1899\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": "American photographer and filmmaker, 1899-1986", "name_in_original_language": null, "birth_year": "1899", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-12-05T00:00:00-05:00", "sortable_date": 1923, "date_added_to_oa": null, "date_text": "1923", "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": "2026-05-01 06:53:43.332000"}, {"id": 290296, "accession_number": "2016.320", "share_license_status": "Copyrighted", "tombstone": "Two Men and the Ocean, 1921. Ralph Steiner (American, 1899\u20131986). Gelatin silver print; image: 12.8 x 9.9 cm (5 1/16 x 3 7/8 in.); paper: 12.8 x 9.9 cm (5 1/16 x 3 7/8 in.). The Cleveland Museum of Art, Gift of Murray and Therese Weiss, 2016.320. \u00a9 Estate of Ralph Steiner", "current_location": null, "title": "Two Men and the Ocean", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 12.8 x 9.9 cm (5 1/16 x 3 7/8 in.); Paper: 12.8 x 9.9 cm (5 1/16 x 3 7/8 in.)", "dimensions": {"image": {"height": 0.128, "height_inch": 5, "height_inch_fraction": 0.0625, "width": 0.099, "width_inch": 3, "width_inch_fraction": 0.875}, "paper": {"height": 0.128, "height_inch": 5, "height_inch_fraction": 0.0625, "width": 0.099, "width_inch": 3, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ralph Steiner", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79870666"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2016.320", "images": {}, "alternate_images": [], "creditline": "Gift of Murray and Therese Weiss", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 290296, "creators": [{"id": 944, "description": "Ralph Steiner (American, 1899\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ralph Steiner American, 1899-1986 Ralph Steiner (born in Cleveland) was a modernist photographer and filmmaker known for his clear, sharply focused images of everyday America. Having developed an early interest in photography, Steiner spent the year following graduation from Dartmouth College studying at the Clarence H. White School of Photography in New York (1921-22). He worked as a plate engraver at the Manhattan Photogravure Company, then undertook a career as a magazine and advertising photographer. Deeply impressed by the technical quality of Paul Strand's pictures, Steiner spent the summer and early fall of 1929 improving his own technical skills. That same year he also began experimenting with filmmaking, producing the avant-garde film H2O. During the 1930s he continued to make films, producing Surf and Seaweed, Mechanical Principles, and Pie in the Sky. In 1935 Steiner joined Strand as a cameraman on Pare Lorentz's documentary film, The Plow that Broke the Plains, and several years later collaborated with photographer Willard Van Dyke on The City, a documentary shown at the 1939 New York World's Fair. In the early 1940s Steiner moved to Hollywood, where he worked for mgm and rko. Upon his return to New York later in the decade, he resumed his career as a commercial photographer. During the 1960s he was able to spend more time doing his own work, producing both photographs and films. His autobiography, A Point of View (1978), was followed by a book of his cloud photographs, In Pursuit of Clouds (1985). M.M.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-12-05T00:00:00-05:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "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": "2026-05-01 06:53:43.385000"}, {"id": 86185, "accession_number": "2016.422", "share_license_status": "Copyrighted", "tombstone": "Lucerne, 1909. Karl F. Struss (American, 1886\u20131981). Vintage platinum print; image: 7.1 x 9.9 cm (2 13/16 x 3 7/8 in.); paper: 7.1 x 9.9 cm (2 13/16 x 3 7/8 in.); primary mount: 7.5 x 10.2 cm (2 15/16 x 4 in.); secondary mount: 8.5 x 11.2 cm (3 3/8 x 4 7/16 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2016.422", "current_location": null, "title": "Lucerne", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["America"], "technique": "Vintage platinum print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 7.1 x 9.9 cm (2 13/16 x 3 7/8 in.); Paper: 7.1 x 9.9 cm (2 13/16 x 3 7/8 in.); Primary mount: 7.5 x 10.2 cm (2 15/16 x 4 in.); Secondary mount: 8.5 x 11.2 cm (3 3/8 x 4 7/16 in.)", "dimensions": {"paper": {"height": 0.071, "height_inch": 2, "height_inch_fraction": 0.8125, "width": 0.099, "width_inch": 3, "width_inch_fraction": 0.875}, "image": {"height": 0.071, "height_inch": 2, "height_inch_fraction": 0.8125, "width": 0.099, "width_inch": 3, "width_inch_fraction": 0.875}, "primary mount": {"height": 0.075, "height_inch": 2, "height_inch_fraction": 0.9375, "width": 0.102, "width_inch": 4, "width_inch_fraction": 0.0}, "secondary mount": {"height": 0.085, "height_inch": 3, "height_inch_fraction": 0.375, "width": 0.112, "width_inch": 4, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Stamped in black ink on verso: \u201cFrom the Estate of Karl Struss/KS\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso of secondary mount: \u201cLucerne 1909\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79472297"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2016.422", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86185, "creators": [{"id": 970, "description": "Karl F. Struss (American, 1886\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karl F. Struss American, 1886-1981\r\n\r\nBorn and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar.\r\n\tA student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915.\r\n\tShortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-12-05T00:00:00-05:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "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": "2026-05-01 06:45:38.406000"}, {"id": 291508, "accession_number": "2016.532", "share_license_status": "Copyrighted", "tombstone": "A bank that failed, Southwest Kansas, 1936. Arthur Rothstein (American, 1915\u20131985). Gelatin silver print, printed later; image: 25.8 x 26.8 cm (10 3/16 x 10 9/16 in.); paper: 35.2 x 28 cm (13 7/8 x 11 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2016.532", "current_location": null, "title": "A bank that failed, Southwest Kansas", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "gelatin silver print, printed later", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 25.8 x 26.8 cm (10 3/16 x 10 9/16 in.); Paper: 35.2 x 28 cm (13 7/8 x 11 in.)", "dimensions": {"image": {"height": 0.258, "height_inch": 10, "height_inch_fraction": 0.1875, "width": 0.268, "width_inch": 10, "width_inch_fraction": 0.5625}, "paper": {"height": 0.352, "height_inch": 13, "height_inch_fraction": 0.875, "width": 0.28, "width_inch": 11, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Stamped in black ink on verso: \u201c3\u201d\nStamped in black ink on verso: \u201cARTHUR ROTHSTEIN\u201d\nStamped in black ink on verso: \u201cARTHUR ROTHSTEIN/PHOTOGRAPH/from the collection of/GRACE ROTHSTEIN\u201d\nWritten in pencil on verso: \u201cG40-34\u201d\nWritten in pencil on verso: \u201cBank That Failed\u201d\nWritten in pencil on verso: \u201cAR-175.07 2500\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79864993"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2016.532", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 291508, "creators": [{"id": 291504, "description": "Arthur Rothstein (American, 1915\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": "American photographer, 1915-1985", "name_in_original_language": null, "birth_year": "1915", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-12-05T00:00:00-05:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "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": "2026-05-01 06:53:44.457000"}, {"id": 291509, "accession_number": "2016.533", "share_license_status": "Copyrighted", "tombstone": "Tall building seen from elevated train, N.Y.C., 1932. Arthur Rothstein (American, 1915\u20131985). Vintage gelatin silver print; image: 35.5 x 27.8 cm (14 x 10 15/16 in.); paper: 35.5 x 27.8 cm (14 x 10 15/16 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2016.533", "current_location": null, "title": "Tall building seen from elevated train, N.Y.C.", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "vintage gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 35.5 x 27.8 cm (14 x 10 15/16 in.); Paper: 35.5 x 27.8 cm (14 x 10 15/16 in.)", "dimensions": {"image": {"height": 0.355, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.278, "width_inch": 10, "width_inch_fraction": 0.9375}, "paper": {"height": 0.355, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.278, "width_inch": 10, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso: \u201cAR-442 2800\u201d\nStamped in black ink on verso: \u201cARTHUR ROTHSTEIN/PHOTOGRAPH/from the collection of/GRACE ROTHSTEIN\u201d\nWritten in pencil on verso: \u201cTall Building seen from Elevated Train NYC 1932 G80-32 <22.012>\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79864995"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2016.533", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 291509, "creators": [{"id": 291504, "description": "Arthur Rothstein (American, 1915\u20131985)", "extent": null, "qualifier": null, "role": "artist", "biography": "American photographer, 1915-1985", "name_in_original_language": null, "birth_year": "1915", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-12-05T00:00:00-05:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "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": "2026-05-01 06:53:44.464000"}, {"id": 322544, "accession_number": "2018.496", "share_license_status": "Copyrighted", "tombstone": "Chile: Salvador Allende at His Home in Valparaiso, 1970. Paola Agosti (Italian, b. 1947). Gelatin silver print; image: 26.6 x 17.8 cm (10 1/2 x 7 in.); paper: 30.4 x 21.4 cm (11 15/16 x 8 7/16 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2018.496", "current_location": null, "title": "Chile: Salvador Allende at His Home in Valparaiso", "creation_date": "1970", "creation_date_earliest": 1970, "creation_date_latest": 1970, "artists_tags": ["female"], "culture": ["Italy"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - Italian", "type": "Photograph", "measurements": "Image: 26.6 x 17.8 cm (10 1/2 x 7 in.); Paper: 30.4 x 21.4 cm (11 15/16 x 8 7/16 in.)", "dimensions": {"image": {"height": 0.266, "height_inch": 10, "height_inch_fraction": 0.5, "width": 0.178, "width_inch": 7, "width_inch_fraction": 0.0}, "paper": {"height": 0.304, "height_inch": 11, "height_inch_fraction": 0.9375, "width": 0.214, "width_inch": 8, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875075"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.496", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 322544, "creators": [{"id": 322459, "description": "Paola Agosti (Italian, b. 1947)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1970, "date_added_to_oa": null, "date_text": "1970", "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": "2026-05-01 06:53:59.508000"}, {"id": 323699, "accession_number": "2018.614", "share_license_status": "Copyrighted", "tombstone": "An Austrian Sporting a Hitler Moustache Sold Portraits of the F\u00fchrer withe the Inscription, \"He's With Us, We're With Him,\" Vienna, 1938. John Phillips (American, 1914\u20131996). Gelatin silver print; image: 34 x 26.5 cm (13 3/8 x 10 7/16 in.); paper: 34 x 26.5 cm (13 3/8 x 10 7/16 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2018.614", "current_location": null, "title": "An Austrian Sporting a Hitler Moustache Sold Portraits of the F\u00fchrer withe the Inscription, \"He's With Us, We're With Him,\" Vienna", "creation_date": "1938", "creation_date_earliest": 1938, "creation_date_latest": 1938, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 34 x 26.5 cm (13 3/8 x 10 7/16 in.); Paper: 34 x 26.5 cm (13 3/8 x 10 7/16 in.)", "dimensions": {"image": {"height": 0.34, "height_inch": 13, "height_inch_fraction": 0.375, "width": 0.265, "width_inch": 10, "width_inch_fraction": 0.4375}, "paper": {"height": 0.34, "height_inch": 13, "height_inch_fraction": 0.375, "width": 0.265, "width_inch": 10, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875481"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.614", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 323699, "creators": [{"id": 323695, "description": "John Phillips (American, 1914\u20131996)", "extent": null, "qualifier": null, "role": "artist", "biography": "American photographer, 1914-1996", "name_in_original_language": null, "birth_year": "1914", "death_year": "1996", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1938, "date_added_to_oa": null, "date_text": "1938", "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": "2026-05-01 06:54:00.495000"}, {"id": 323742, "accession_number": "2018.632", "share_license_status": "Copyrighted", "tombstone": "Fountain Correctional Institute: The Prison Cemetary, Atmore, Alabama, 1976. Alex Webb (American, 1952-). Gelatin silver print; image: 15 x 22.2 cm (5 7/8 x 8 3/4 in.); paper: 20.3 x 25.2 cm (8 x 9 15/16 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2018.632", "current_location": null, "title": "Fountain Correctional Institute: The Prison Cemetary, Atmore, Alabama", "creation_date": "1976", "creation_date_earliest": 1976, "creation_date_latest": 1976, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 15 x 22.2 cm (5 7/8 x 8 3/4 in.); Paper: 20.3 x 25.2 cm (8 x 9 15/16 in.)", "dimensions": {"image": {"height": 0.15, "height_inch": 5, "height_inch_fraction": 0.875, "width": 0.222, "width_inch": 8, "width_inch_fraction": 0.75}, "paper": {"height": 0.203, "height_inch": 8, "height_inch_fraction": 0.0, "width": 0.252, "width_inch": 9, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875533"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.632", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 323742, "creators": [{"id": 67020, "description": "Alex Webb (American, 1952-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1952", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1976, "date_added_to_oa": null, "date_text": "1976", "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": "2026-05-01 06:54:00.609000"}, {"id": 323743, "accession_number": "2018.633", "share_license_status": "Copyrighted", "tombstone": "Fountain Correctional Institute: Prisoners Receiving Mail, Atmore, Alabama, 1976. Alex Webb (American, 1952-). Gelatin silver print; image: 15.1 x 22.2 cm (5 15/16 x 8 3/4 in.); paper: 20.3 x 25.2 cm (8 x 9 15/16 in.). 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Nathan Lerner (American, 1913\u20131997). Gelatin silver print; paper: 25.1 x 20.3 cm (9 7/8 x 8 in.); image: 21.4 x 17.6 cm (8 7/16 x 6 15/16 in.). 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Nathan Lerner (American, 1913\u20131997). Gelatin silver print; paper: 20.3 x 25.3 cm (8 x 9 15/16 in.); image: 16.4 x 23.2 cm (6 7/16 x 9 1/8 in.). 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Nathan Lerner (American, 1913\u20131997). Gelatin silver print; paper: 25.5 x 20.2 cm (10 1/16 x 7 15/16 in.); image: 22 x 18 cm (8 11/16 x 7 1/16 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2018.656. \u00a9  Estate of Nathan Lerner / Artists Rights Society (ARS), New York", "current_location": null, "title": "Man with Greasy Coat", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Paper: 25.5 x 20.2 cm (10 1/16 x 7 15/16 in.); Image: 22 x 18 cm (8 11/16 x 7 1/16 in.)", "dimensions": {"image": {"height": 0.22, "height_inch": 8, "height_inch_fraction": 0.6875, "width": 0.18, "width_inch": 7, "width_inch_fraction": 0.0625}, "paper": {"height": 0.255, "height_inch": 10, "height_inch_fraction": 0.0625, "width": 0.202, "width_inch": 7, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Nathan Lerner / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Written in pencil on verso: \"Man with greasy Coat/ 1936/chgo/ NAthan Lerner/ 1936\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Stamped in black ink on verso: \"\u00a9Photo By Nathan Lerner/ All Rights Reserved\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Writen in black ink on verso: \"M-7\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"#36.26.1\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"Man with a greasy coat\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"NLSE158.1   4500-\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"Maxwell 13\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"INV 3545\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso, upper right corner: \"298/ 1,000\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875611"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.656", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 323810, "creators": [{"id": 323763, "description": "Nathan Lerner (American, 1913\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": "American photographer, designer, and painter, 1913-1997", "name_in_original_language": null, "birth_year": "1913", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935", "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": "2026-05-01 06:54:00.761000"}, {"id": 412275, "accession_number": "2020.382", "share_license_status": "Copyrighted", "tombstone": "Muhammad Ali vs. Ernie Terrell, Houston, TX, 1967, 1967. Walter Iooss (American, 1943-). Archival pigment print; image: 37.4 x 56 cm (14 3/4 x 22 1/16 in.); paper: 50.8 x 61.2 cm (20 x 24 1/8 in.). 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Also noted for his portraiture, Iooss is the recipient of a Lifetime Achievement Award from The Lucie Awards, has 60 images in the National Museum of African American History and Culture, Smithsonian. His work was the subject of a dedicated auction at Christie\u2019s in 2003. <em>Sports Illustrated</em> has run his pictures for 58 years, with his photographs gracing over 300 of their covers.", "name_in_original_language": null, "birth_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1967, "date_added_to_oa": null, "date_text": "1967", "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": ["Ali vs Ernie Terrell, Houston, Astrodome 2/6/67"], "is_highlight": false, "updated_at": "2026-05-01 06:54:13.002000"}, {"id": 412276, "accession_number": "2020.383", "share_license_status": "Copyrighted", "tombstone": "Muhammad Ali, Houston, TX, 1967, 1967. Walter Iooss (American, 1943-). Archival pigment print; image: 37.8 x 55.9 cm (14 7/8 x 22 in.); paper: 50.7 x 60.9 cm (19 15/16 x 24 in.). The Cleveland Museum of Art, Gift of the Marino Family, 2020.383. \u00a9 Walter Iooss Jr., Courtesy of Bruce Silverstein Gallery, New York", "current_location": null, "title": "Muhammad Ali, Houston, TX, 1967", "creation_date": "1967", "creation_date_earliest": 1967, "creation_date_latest": 1967, "artists_tags": ["male"], "culture": ["America"], "technique": "archival pigment print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 37.8 x 55.9 cm (14 7/8 x 22 in.); Paper: 50.7 x 60.9 cm (19 15/16 x 24 in.)", "dimensions": {"image": {"height": 0.378, "height_inch": 14, "height_inch_fraction": 0.875, "width": 0.559, "width_inch": 22, "width_inch_fraction": 0.0}, "paper": {"height": 0.507, "height_inch": 19, "height_inch_fraction": 0.9375, "width": 0.609, "width_inch": 24, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Walter Iooss Jr., Courtesy of Bruce Silverstein Gallery, New York", "inscriptions": [{"inscription": "Written in black ink on verso: \"Walter Iooss (signed)/1967\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106617490"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.383", "images": {}, "alternate_images": [], "creditline": "Gift of the Marino Family", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 412276, "creators": [{"id": 412269, "description": "Walter Iooss (American, 1943-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Walter Iooss (born 1943) is known as \u201cthe poet laureate of sports\u201d for his ability to combine artistry with capture of the right moment. Also noted for his portraiture, Iooss is the recipient of a Lifetime Achievement Award from The Lucie Awards, has 60 images in the National Museum of African American History and Culture, Smithsonian. His work was the subject of a dedicated auction at Christie\u2019s in 2003. <em>Sports Illustrated</em> has run his pictures for 58 years, with his photographs gracing over 300 of their covers.", "name_in_original_language": null, "birth_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1967, "date_added_to_oa": null, "date_text": "1967", "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": ["Ali Weigh-in, Houston Astrodome 2/5/67"], "is_highlight": false, "updated_at": "2026-05-01 06:54:13.008000"}, {"id": 523552, "accession_number": "2022.264", "share_license_status": "Copyrighted", "tombstone": "To Heal:  MRL Mouse, 2007. Emily Bute (American, b. 1984). Enamel on copper; 1.9 x 25.4 x 25.4 cm (3/4 x 10 x 10 in.). The Cleveland Museum of Art, Gift of the Enamel Arts Foundation, 2022.264", "current_location": null, "title": "To Heal:  MRL Mouse", "creation_date": "2007", "creation_date_earliest": 2007, "creation_date_latest": 2007, "artists_tags": ["female", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Enamel on copper", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Enamel", "measurements": "1.9 x 25.4 x 25.4 cm (3/4 x 10 x 10 in.)", "dimensions": {"No Extent Specified": {"height": 0.019, "height_inch": 0, "height_inch_fraction": 0.75, "width": 0.254, "width_inch": 10, "width_inch_fraction": 0.0, "depth": 0.254, "depth_inch": 10, "depth_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Enamel Arts Foundation, Los Angeles, CA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117424010"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.264", "images": {}, "alternate_images": [], "creditline": "Gift of the Enamel Arts Foundation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 523552, "creators": [{"id": 523543, "description": "Emily Bute (American, b. 1984)", "extent": "execution", "qualifier": null, "role": null, "biography": null, "name_in_original_language": null, "birth_year": "1984", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 2007, "date_added_to_oa": null, "date_text": "2007", "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": "2026-05-01 06:54:24.649000"}, {"id": 522606, "accession_number": "2022.345", "share_license_status": "Copyrighted", "tombstone": "A Tree in Greyfriars Churchyard, 1905. Alvin Langdon Coburn (British, 1882\u20131966). Photogravure; image: 18.4 x 15.2 cm (7 1/4 x 6 in.). The Cleveland Museum of Art, Gift of Nina Rosenblum and Lisa Rosenblum, 2022.345", "current_location": null, "title": "A Tree in Greyfriars Churchyard", "creation_date": "1905", "creation_date_earliest": 1905, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - British 20th Century", "type": "Photograph", "measurements": "Image: 18.4 x 15.2 cm (7 1/4 x 6 in.)", "dimensions": {"image": {"height": 0.184, "height_inch": 7, "height_inch_fraction": 0.25, "width": 0.152, "width_inch": 6, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Naomi Rosenblum [1925-2021], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Estate of Naomi Rosenblum, Long Island City, NY, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021\u201322", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 5, 2022-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117842818"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.345", "images": {}, "alternate_images": [], "creditline": "Gift of Nina Rosenblum and Lisa Rosenblum", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 522606, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "1905", "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": ["Greyfriars Church"], "is_highlight": false, "updated_at": "2026-05-01 06:54:23.718000"}, {"id": 522728, "accession_number": "2022.394", "share_license_status": "Copyrighted", "tombstone": "Miss Wilhelmina, Clarksdale, Miss., 1972. Jeanne Moutoussamy-Ashe (American, b. 1951). Gelatin silver print; image: 22.9 x 15.2 cm (9 x 6 in.). The Cleveland Museum of Art, Gift of Nina Rosenblum and Lisa Rosenblum, 2022.394. \u00a9 Jeanne Moutoussamy-Ashe", "current_location": null, "title": "Miss Wilhelmina, Clarksdale, Miss.", "creation_date": "1972", "creation_date_earliest": 1972, "creation_date_latest": 1972, "artists_tags": ["female", "Black American Artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 22.9 x 15.2 cm (9 x 6 in.)", "dimensions": {"image": {"height": 0.229, "height_inch": 9, "height_inch_fraction": 0.0, "width": 0.152, "width_inch": 6, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Jeanne Moutoussamy-Ashe", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Naomi Rosenblum [1925-2021], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Estate of Naomi Rosenblum, Long Island City, NY, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021\u201322", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 5, 2022-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117842892"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.394", "images": {}, "alternate_images": [], "creditline": "Gift of Nina Rosenblum and Lisa Rosenblum", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 522728, "creators": [{"id": 522726, "description": "Jeanne Moutoussamy-Ashe (American, b. 1951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1972, "date_added_to_oa": null, "date_text": "1972", "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": "2026-05-01 06:54:24.071000"}, {"id": 522736, "accession_number": "2022.396", "share_license_status": "Copyrighted", "tombstone": "Little Girls, They Only Watch, 1952. Grace Robertson (British (modern), 1930-). Gelatin silver print; image: 25.4 x 33 cm (10 x 13 in.). The Cleveland Museum of Art, Gift of Nina Rosenblum and Lisa Rosenblum, 2022.396", "current_location": null, "title": "Little Girls, They Only Watch", "creation_date": "1952", "creation_date_earliest": 1952, "creation_date_latest": 1952, "artists_tags": ["female"], "culture": ["England, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - British 20th Century", "type": "Photograph", "measurements": "Image: 25.4 x 33 cm (10 x 13 in.)", "dimensions": {"image": {"height": 0.254, "height_inch": 10, "height_inch_fraction": 0.0, "width": 0.33, "width_inch": 13, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Naomi Rosenblum [1925-2021], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Estate of Naomi Rosenblum, Long Island City, NY, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021\u201322", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 5, 2022-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117842894"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.396", "images": {}, "alternate_images": [], "creditline": "Gift of Nina Rosenblum and Lisa Rosenblum", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 522736, "creators": [{"id": 523168, "description": "Grace Robertson (British (modern), 1930-)", "extent": null, "qualifier": null, "role": "artist", "biography": "English photojournalist, born 1930", "name_in_original_language": null, "birth_year": "1930", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1952, "date_added_to_oa": null, "date_text": "1952", "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": "2026-05-01 06:54:24.083000"}, {"id": 536472, "accession_number": "2022.428", "share_license_status": "Copyrighted", "tombstone": "Untitled (Four Figures and a Leg), 1963. Donna Ferrato (American, 1949-). Gelatin silver print. The Cleveland Museum of Art, Gift of Nina Rosenblum and Lisa Rosenblum, 2022.428", "current_location": null, "title": "Untitled (Four Figures and a Leg)", "creation_date": "1963", "creation_date_earliest": 1963, "creation_date_latest": 1963, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Naomi Rosenblum [1925-2021], New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Estate of Naomi Rosenblum, Long Island City, NY, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2021\u201322", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 5, 2022-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117842978"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.428", "images": {}, "alternate_images": [], "creditline": "Gift of Nina Rosenblum and Lisa Rosenblum", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 536472, "creators": [{"id": 412210, "description": "Donna Ferrato (American, 1949-)", "extent": null, "qualifier": null, "role": "artist", "biography": "American photographer, born 1949", "name_in_original_language": null, "birth_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1963, "date_added_to_oa": null, "date_text": "1963", "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": "2026-05-01 06:54:26.366000"}]}