{"info": {"total": 23, "parameters": {"skip": 0, "limit": 1000, "q": "cubism", "select": "accession_number,accession_number_sortable,cover_accession_number,department,gallery,collection,department,classification_type", "search": "cubism"}}, "data": [{"id": 115405, "accession_number": "1936.19", "share_license_status": "CC0", "tombstone": "The Pigeon Tower at Bellevue, 1890. Paul Cezanne (French, 1839\u20131906). Oil on fabric; framed: 95.5 x 113 x 7 cm (37 5/8 x 44 1/2 x 2 3/4 in.); unframed: 65.6 x 81.5 cm (25 13/16 x 32 1/16 in.). The Cleveland Museum of Art, The James W. Corrigan Memorial, 1936.19", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Pigeon Tower at Bellevue", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "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: 95.5 x 113 x 7 cm (37 5/8 x 44 1/2 x 2 3/4 in.); Unframed: 65.6 x 81.5 cm (25 13/16 x 32 1/16 in.)", "dimensions": {"framed": {"height": 0.955, "height_inch": 37, "height_inch_fraction": 0.625, "width": 1.13, "width_inch": 44, "width_inch_fraction": 0.5, "depth": 0.07, "depth_inch": 2, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.656, "height_inch": 25, "height_inch_fraction": 0.8125, "width": 0.815, "width_inch": 32, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 616624, "title": "Fifty Years of French Art", "description": "<i>Fifty Years of French Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29-November 29, 1926).", "opening_date": "1926-10-29T05:00:00"}, {"id": 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": 338201, "title": "C\u00e9zanne and Gauguin", "description": "<i>C\u00e9zanne and Gauguin</i>. The Toledo Museum of Art, Toledo, OH (organizer) (November 1-December 13, 1936).", "opening_date": "1936-11-01T05:00:00"}, {"id": 338226, "title": "Paul C\u00e9zanne", "description": "<i>Paul C\u00e9zanne</i>. San Francisco Museum of Modern Art (organizer) (September 1-October 4, 1937).", "opening_date": "1937-09-01T04:00:00"}, {"id": 338205, "title": "Paul C\u00e9zanne", "description": "<i>Paul C\u00e9zanne</i>. Portland Art Museum, Portland, OR (organizer) (October 8-29, 1937).", "opening_date": "1937-10-08T05:00:00"}, {"id": 338244, "title": "French Impressionists from Manet to Cezanne", "description": "<i>French Impressionists from Manet to Cezanne</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (May 3-June 2, 1940).", "opening_date": "1940-03-03T05:00:00"}, {"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": 338292, "title": "Masterpieces of Painting", "description": "<i>Masterpieces of Painting</i>. Montr\u00e9al Museum of Fine Arts (organizer) (February 5-March 8, 1942).", "opening_date": "1942-02-05T05:00:00"}, {"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": 338295, "title": "A Thousand Years of Landscape: East and West", "description": "<i>A Thousand Years of Landscape: East and West</i>. Museum of Fine Arts, Boston (organizer) (October 24-December 9, 1945).", "opening_date": "1945-10-24T05:00:00"}, {"id": 338298, "title": "French Paintings of the 19th Century", "description": "<i>French Paintings of the 19th Century</i>. Colorado Springs Fine Arts Center (organizer) (November 5-December 9, 1946).", "opening_date": "1946-11-05T05:00:00"}, {"id": 338301, "title": "C\u00e9zanne", "description": "<i>C\u00e9zanne</i>. Wildenstein & Co. (organizer) (March 26-April 26, 1947).", "opening_date": "1947-03-26T05:00:00"}, {"id": 338304, "title": "Springtime of Impressionism", "description": "<i>Springtime of Impressionism</i>. Columbus Museum of Art, Columbus, OH (organizer) (April 3-May 2, 1948).", "opening_date": "1948-04-03T05:00:00"}, {"id": 338316, "title": "French Impressionists", "description": "<i>French Impressionists</i>. Vancouver Art Gallery, Vancouver, Canada (organizer) (May 23-April 19, 1953).", "opening_date": "1953-03-23T05:00:00"}, {"id": 338336, "title": "Exposition pour comm\u00e9morer le cinquantenaire de la mort de C\u00e9zanne", "description": "<i>Exposition pour comm\u00e9morer le cinquantenaire de la mort de C\u00e9zanne</i>. Pavillon de Vend\u00f4me, Aix-en-Provence, France (July 20-August 15, 1956).", "opening_date": "1956-07-20T04:00:00"}, {"id": 337140, "title": "Masterpieces of World Art from American Museums", "description": "<i>Masterpieces of World Art from American Museums</i>. National Museum of Western Art, Tokyo (organizer) (September 11-October 17, 1976); Kyoto National Museum (November 2-December 5, 1976).", "opening_date": "1976-09-11T04:00:00"}, {"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": 338323, "title": "C\u00e9zanne and Poussin: The Classical Vision of Landscape", "description": "<i>C\u00e9zanne and Poussin: The Classical Vision of Landscape</i>. National Galleries of Scotland, Edinburgh, United Kingdom of Great Britain and Northern Ireland (organizer) (August 9-October 21, 1990).", "opening_date": "1990-08-09T04:00:00"}, {"id": 338341, "title": "C\u00e9zanne", "description": "<i>C\u00e9zanne</i>. Galeries Nationales du Grand Palais, Paris, France (September 26, 1995-January 1, 1996); Tate Britain, London (February 7-April 28, 1996); Philadelphia Museum of Art, Philadelphia, PA (May 26-September 1, 1996).", "opening_date": "1995-09-26T04:00:00"}, {"id": 223479, "title": "Right Under the Sun: Painting in Provence from Classicism to Modernism (1750-1920)", "description": "<i>Right Under the Sun: Painting in Provence from Classicism to Modernism (1750-1920)</i>. Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (organizer) (September 22, 2005-January 8, 2006).", "opening_date": "2005-05-14T00:00:00"}, {"id": 177189, "title": "C\u00e9zanne in Provence", "description": "<i>C\u00e9zanne in Provence</i>. National Gallery of Art, Landover, MD (organizer) (January 29-May 7, 2006).", "opening_date": "2006-01-29T00:00:00"}, {"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>. 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": 222303, "title": "Lend-Back:  Painting the Modern Garden", "description": "<i>Lend-Back:  Painting the Modern Garden</i>. Dayton Art Institute, Dayton, OH (organizer) (October 1, 2015-April 30, 2016).", "opening_date": "2015-10-01T00:00:00"}], "legacy": [{"description": "<em>Fifty Years of French Art</em>. Cleveland Museum of Art, Cleveland, OH (1926).", "opening_date": "1926-01-01T00:00:00"}, {"description": "<em>Inaugural Exhibition</em>. Art Gallery of Toronto, Toronto, Ontario (1926).", "opening_date": "1926-01-01T00:00:00"}, {"description": "<em>Paintings by Paul C\u00e9zanne 1839-1906</em>. Wildenstein Gallery, New York, NY (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>The Museum of Modern Art First Loan Exhibition: C\u00e9zanne, Gauguin, Seurat, Van Gogh</em>.", "opening_date": null}, {"description": "Museum of Modern Art, New York, NY (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>A Century of Progress Exhibition of Paintings and Sculpture.</em> Art Institute of Chicago, Chicago, IL (1934).", "opening_date": "1934-01-01T00:00:00"}]}, "provenance": [{"description": "Maxime Conil [1822- ?] Aix en Provence, France, brother-in-law of the artist, sold to Ambroise Vollard, December 18, 1899", "citations": [], "footnotes": null, "date": "1899", "sortorder": 1}, {"description": "(Ambroise Vollard, Paris, France, January 25, 1922, sold to Ralph M. Coe)", "citations": [], "footnotes": null, "date": "1899-1922", "sortorder": 2}, {"description": "Ralph M. Coe [1882-1959], Cleveland, OH", "citations": [], "footnotes": null, "date": "1922", "sortorder": 3}, {"description": "Mrs. Ralph M. Coe [1891-1966], Cleveland, OH, November 7, 1935, to Knoedler & Co.for sale", "citations": [], "footnotes": null, "date": "1922-1935", "sortorder": 4}, {"description": "(Knoedler & Co., New York, NY, January 6, 1936, work returned to Mr. Ralph M. Coe)", "citations": [], "footnotes": null, "date": "1935-1936", "sortorder": 5}, {"description": "Mr. Ralph M. Coe, Cleveland, OH, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1936", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1936-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": ["517.26", "1971.23", "2654.31"], "did_you_know": "C\u00e9zanne\u2019s method of compressing space and simplifying forms into flattened, geometric shapes provided the foundation for both Fauvism and Cubism.", "early_education_description": null, "artlens_description": null, "description": "Paul Cezanne painted this composition in three horizontal planes: the azure blue of the sky; the luminous white of the tower and the farmyard buildings; and the burnt-orange shade of the foreground earth, whose color is indicative of the iron-rich soil of Provence. The shimmering greens of Cezanne\u2019s favorite cypress and olive trees are interspersed across the middle ground. The composition is pared down to its essentials, devoid of extraneous detail; it exemplifies his ambition \u201cto make something solid and enduring, like the art in museums.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60513959"], "internet_archive": ["https://archive.org/details/clevelandart-1936.19-the-pigeon-tower-at"]}, "citations": [{"citation": "Rivie\u0300re, Georges. <em>Le Mai\u0302tre Paul Ce\u0301zanne</em>. Paris: H. Floury, 1923.", "page_number": "Mentioned: p. 214", "url": null}, {"citation": "Milliken, William. \"Fifty Years of French Art.\" <em>The Arts </em>10 (December 1926): 336-338.", "page_number": "Reproduced: p. 336; mentioned: 337", "url": null}, {"citation": "Watson, Forbes. \"New York Exhibitions.\" <em>The Arts </em>13 (February 1928): 106-115.", "page_number": "Reproduced: p. 112; mentioned: p. 107", "url": null}, {"citation": "Johnson, Erle Loran. \"Cezanne's Country.\" <em>The Arts </em>16 (April 1930): 521-552.", "page_number": "Reproduced: p. 533", "url": null}, {"citation": "Wilenski, R. H. <em>French Painting</em>. Boston: Hale, Cushman &amp; Flint, 1931.", "page_number": "Mentioned: p. 309", "url": null}, {"citation": "\"List of Paintings.\" <em>Art Digest </em>8, no. 17 (June 1,1934): 12-22.", "page_number": "Mentioned: p. 17", "url": null}, {"citation": "Venturi, Lionello. <em>Ce\u0301zanne, Son Art, Son Oeuvre; 1,600 Illustrations.</em> Paris: P. Rosenberg, 1936.", "page_number": "Mentioned: vol. 1, p. 205, no. 650; reproduced: pl. 208, fig. 650", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition : June Twenty-Sixth to October Fourth 1936</em>. [Cleveland, Ohio]: [Cleveland Museum of Art], 1936.", "page_number": "Mentioned: p. 100, no. 255; reproduced: pl. LXVII, no. 255", "url": null}, {"citation": "Francis, Henry S. \"The Pigeon Tower at Montbriand by Paul Cezanne.\" <em>The Bulletin of the Cleveland Museum of Art </em>23, no. 3 (March, 1936): 30, 33-36.", "page_number": "Mentioned: p. 33-36; reproduced: p. 30", "url": null}, {"citation": "\"Cleveland: A Cezanne for the Museum.\" <em>ARTnews </em>34 (March 28, 1936): 11.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "\"Cezanne's Pigeon Tower at Montbriand.\" <em>The American Magazine of Art </em>29 (April 1936): 247-248.", "page_number": "Mentioned and reproduced: p. 247-248", "url": null}, {"citation": "Milliken, William. \"The Twentieth Anniversary Exhibition of the Cleveland Museum of Art.\" <em>ARTnews </em>34 (June 13, 1936): 7-14.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Ce\u0301zanne, Paul. <em>Paul Ce\u0301zanne: Exhibition of Paintings, Water-Colors, Drawings and Prints : September 1 Through October 4, 1937</em>. San Francisco: San Francisco Museum of Art, 1937.", "page_number": "Mentioned: cat. no. 26", "url": null}, {"citation": "Novotny, Fritz. <em>Ce\u0301zanne und das Ende der wissenschaftlichen Perspektive.</em> Wien: A. Schroll, 1938.", "page_number": "Mentioned: p. 202, no. 75", "url": null}, {"citation": "Wilenski, R. H. <em>Modern French Painters.</em> New York: Reynal &amp; Hitchcock, 1940.", "page_number": "Reproduced: opp. p. 173", "url": null}, {"citation": "Milliken, William. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art </em>28, no.6 (June 1941): 88-108", "page_number": "Mentioned: p. 106", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "Montreal Museum of Fine Arts. <em>Loan Exhibition of Masterpieces of Painting = Exposition De Chefs-D'oeuvre De La Peinture</em>. Montreal: Museum of Fine Arts, Arts Association of Montreal, 1942.", "page_number": "Mentioned: cat. no. 68", "url": null}, {"citation": "Loran, Erle. <em>Cezanne's Composition; Analysis of His Form, with Diagrams and Photographs of His Motifs</em>. Berkeley: University of California Press, 1943.", "page_number": "Mentioned and reproduced: p. 78-79", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 38", "url": "https://archive.org/details/CMAPaintings1945/page/n46"}, {"citation": "Museum of Fine Arts, Boston. <em>A Thousand Years of Landscape East and West : (paintings, Drawings, Prints) : Special Exhibition, October 24 through December 9, 1945, Museum of Fine Arts, Boston</em>. Boston: Museum of Fine Arts, 1945.", "page_number": null, "url": null}, {"citation": "Colorado Springs Fine Arts Center. <em>French Paintings of the 19th Century : [exhibition] November 5-December 9, 1946</em>. Colorado Springs: Publisher Not Identified, 1946.", "page_number": "Mentioned: cat. no. 3", "url": null}, {"citation": "Visson, Vladimir. <em>A Loan Exhibition of Cezanne: For the Benefit of the New York Infirmary. March 27- April 26, 1947, at Wildenstein ... New York</em>. [New York]: Wildenstein and Company, Inc, 1947.", "page_number": "Mentioned and Reproduced: cat. no. 44", "url": null}, {"citation": "Rewald, John. <em>Paul Ce\u0301zanne, A Biography.</em> New York: Simon and Schuster, 1948.", "page_number": "Mentioned: p. 139, 164; reproduced: fig. 88", "url": null}, {"citation": "\"The Springtime of Impressionsim.\" Columbus Gallery of Fine Arts. <em>Bulletin</em>. 18, no 7 (1948)", "page_number": "Mentioned and Reproduced: cat. no. 5", "url": null}, {"citation": "Rewald, John. <em>The Ordeal of Paul Ce\u0301zanne.</em> London: Phoenix House, 1950.", "page_number": "Mentioned: p. 132; reproduced: fig. 68", "url": null}, {"citation": "Vancouver Art Gallery. <em>The French Impressionists: Including Works by Some Earlier Artists Who Influenced the Movement : March 24 to April 19, 1953, Vancouver Art Gallery</em>. Vancouver: Vancouver Art Gallery, 1953.", "page_number": "Mentioned and Reproduced: cat. no. 47", "url": null}, {"citation": "Raynal, Maurice. <em>Ce\u0301zanne; Biographical and Critical Studies</em>. [Geneva]: Skira, 1954.", "page_number": "Mentioned & reproduced: p. 83", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland.</em> Thesis M.A. Oberlin College, 1956.", "page_number": "Reproduced: vol. 2, p. 20", "url": null}, {"citation": "Ce\u0301zanne, Paul. <em>Exposition pour comme\u0301morer le cinquantenaire de la mort de Ce\u0301zanne: Pavillon de Vendo\u0302me du 21 juillet au 15 aou\u0302t, 1956, Aix-en-Provence</em>. [Place of publication not identified]: [publisher not identified], 1956.", "page_number": "Mentioned and Reproduced: cat. no. 41, pl. xx", "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. 508", "url": "https://archive.org/details/CMAHandbook1958/page/n94"}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Art Collections. </em>1960.", "page_number": "Mentioned: p. 99-101", "url": null}, {"citation": "\"Pigeon Tower at Monbriand.\" <em>Apollo: A Journal of the Arts </em>68 (December 1963): 485-486.", "page_number": "Reproduced: p. 486", "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. 177", "url": "https://archive.org/details/CMAHandbook1966/page/n201"}, {"citation": "Moore, Janet Gaylord.<em> The Many Ways of Seeing: An Introduction to the Pleasures of Art.</em> Cleveland: World Pub. Co, 1968.", "page_number": "Reproduced: p. 38", "url": null}, {"citation": "Murphy, Richard W. <em>The World of Ce\u0301zanne, 1839-1906</em>. New York: Time-Life Books, 1968.", "page_number": "Reproduced: p. 150", "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. 177", "url": "https://archive.org/details/CMAHandbook1969/page/n201"}, {"citation": "Orienti, Sandra. <em>The Complete Paintings of Ce\u0301zanne</em>. New York: H.N. Abrams, 1972.", "page_number": "Reproduced: p. 117, cat. 674", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>Catalogue of Paintings. Pt. 4. European paintings of the 19th Century.</em> Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: Vol. 1, no. 46", "url": null}, {"citation": "Elgar, Frank. <em>Cezanne</em>. New York: Praeger Publishers, 1975.", "page_number": "Reproduced: p. 63", "url": null}, {"citation": "Nakayama, Kimio. <em>Po\u0304ru Sezannu</em>. To\u0304kyo\u0304: Kenshu\u0304 Shuppan, 1975.", "page_number": "Reproduced: pl. 60", "url": null}, {"citation": "Milliken, William Mathewson. <em>A Time Remembered: A Cleveland Memoir. </em>Cleveland: Western Reserve Historical Society, 1975.", "page_number": "Mentioned and reproduced: p. 108-110", "url": null}, {"citation": "Kokuritsu Seiyo\u0304 Bijutsukan. <em>Masterpieces of World Art from American Museums from Ancient Egyptian to Contemporary Art</em>. Tokyo: National Museum of Western Art, 1976.", "page_number": "Mentioned: cat. no. 46, p 77, Reproduced: p. 130", "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. 219", "url": "https://archive.org/details/CMAHandbook1978/page/n239"}, {"citation": "Bourges, M. R. <em>Itine\u0301raires de Ce\u0301zanne.</em> [Aix-en-Provence]: Ville d'Aix-en-Provence, 1982.", "page_number": "Reproduced: Valcros, fig. 2", "url": null}, {"citation": "Arrouye, Jean. <em>La Provence de Ce\u0301zanne.</em> La Calade, Aix-en-Provence: Edisud, 1982.", "page_number": "Reproduced: p. 86-87", "url": null}, {"citation": "\"Das Cleveland Museum of Art.\" <em>Die Kunst und das Schone Heim</em> 95 (August 1983): 531-538.", "page_number": "Reproduced: p. 535", "url": null}, {"citation": "<em>Paul Ce\u0301zanne: [exposicio\u0301n] Madrid, marzo-abril 1984, Museo Espan\u0303ol de Arte Contempora\u0301neo.</em> Madrid: El Museo, 1984.", "page_number": "Reproduced: p. 235", "url": null}, {"citation": "Rewald, John. <em>Ce\u0301zanne: A Biography.</em> New York: H.N. Abrams, 1986.", "page_number": "Mentioned and reproduced: p. 186-187", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science</em>, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and Reproduced: p. 35, 104. cat. no. 12", "url": null}, {"citation": "Verdi, Richard, Paul Ce\u0301zanne, and Nicolas Poussin. <em>Ce\u0301zanne and Poussin: The Classical Vision of Landscape</em>. London: National Galleries of Scotland, in association with Lund Humphries Publishers, 1990.", "page_number": "Mentioned and Reproduced: p. 154-155", "url": null}, {"citation": "Turner, Evan H. <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 155", "url": null}, {"citation": "Verdi, Richard.<em> Ce\u0301zanne.</em> London: Thames and Hudson, 1992.", "page_number": "Mentioned and reproduced: p. 147-148, no. 127", "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. 33", "url": null}, {"citation": "Benedetti, Maria Teresa. <em>Paul Ce\u0301zanne: La Vita e l'Opera</em>. Milano: A. Mondadori, 1995.", "page_number": "Reproduced: p. 182", "url": null}, {"citation": "Orienti, Sandra. <em>Tout l'Oeuvre Peint de Ce\u0301zanne. </em>Paris: Flammarion, 1995.", "page_number": "Mentioned and reproduced: p. 116-117, no. 674", "url": null}, {"citation": "Lartigue, Charles de. <em>Les Paysages de Paul Ce\u0301zann</em>e. Lyon: Cre\u0301ations du Pe\u0301lican, 1995.", "page_number": "Reproduced: p. 103", "url": null}, {"citation": "<em>Ce\u0301zanne: Paris, Galeries nationales du Grand Palais, 25 septembre 1995-7 janvier 1996, Londres, Tate Gallery, 8 fe\u0301vrier-28 avril 1996, Philadelphie, Philadelphia Museum of Art, 26 mai-18 aou\u0302t 1996.</em> Paris: Re\u0301union des Muse\u0301es Nationaux, 1995.", "page_number": "Mentioned and reproduced: p. 310-311, no. 121", "url": null}, {"citation": "Blin, Sylvie. \u201cUn G\u00e9nie Ind\u00e9finissable.\u201d <em>Connaissance Des Arts</em>, no. 521 (October 1995): 46\u201355.", "page_number": "Reproduced: p. 54", "url": null}, {"citation": "Machotka, Pavel. <em>Ce\u0301zanne: Landscape into Ar</em>t. New Haven: Yale University Press, 1996.", "page_number": "Reproduced: p. 77", "url": null}, {"citation": "<em>Les Sites Ce\u0301zanniens du Pays d'Aix: Hommage a\u0300 John Rewald.</em> Paris: Re\u0301union des Muse\u0301es Nationaux, 1996.", "page_number": "Reproduced: p. 96", "url": null}, {"citation": "Rewald, John.<em> The Paintings of Paul Ce\u0301zanne: A Catalogue Raisonne\u0301. </em>New York: Harry N. Abrams, 1996.", "page_number": "Mentioned: vol. 1, no. 692; reproduced: vol. 2, fig. 692", "url": null}, {"citation": "Toshio, Yamanashi. Sezannu: Zettai no Tankyu\u0304sha = Paul Ce\u0301zanne, a\u0300 la Recherche de laAbsolu. To\u0304kyo\u0304: Nigensha, 1997.", "page_number": "Reproduced: no. 94", "url": null}, {"citation": "Callen, Anthea. <em>The Art of Impressionism: Painting Technique &amp; the Making of Modernity</em>. New Haven: Yale University Press, 2000.", "page_number": "Reproduced: p. 170, no. 234", "url": null}, {"citation": "Donahue, Suzanne M. \"Modern Men: Inventing/Resisting the Modern in Nineteenth-Century French Visual Culture.\" <em>Nineteenth-Century Studies </em>18 (2004): 197-205.", "page_number": "Reproduced: p. 202, fig. 3", "url": null}, {"citation": "Coutagne, Denis. \"Cezanne's Sun.\" In <em>Right Under the Sun: Landscape in Provence from Classicism to Modernism (1750-1920). </em>Guy Cogeval, and Marie-Paule Vial, ed., 156-181. Montre\u0301al: Montreal Museum of Fine Arts, 2005.", "page_number": "Reproduced: p. 177, no. 36, and cover.", "url": null}, {"citation": "\"La Provence Sous e Regard des Peintres.\" <em>L'Estampille, l'Objet d'Art</em>. 404 (July/August 2005): 4-5.", "page_number": "Reproduced: p. 5", "url": null}, {"citation": "Conisbee, Philip, and Denis Coutagne. <em>Ce\u0301zanne in Provence</em>. Washington: National Gallery of Art, 2006.", "page_number": "Reproduced: p. 169, no. 60", "url": null}, {"citation": "Goetz, Adrien. <em>L'Atelier de Ce\u0301zanne. </em>Paris: Hazan, 2006.", "page_number": "Mentioned and reproduced: p. 90", "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. 7", "url": "https://archive.org/details/CMAMM2006-01/page/6"}, {"citation": "Adler, Kathleen. <em>Renoir: la maturita\u0300 tra classico e moderno.</em> Milano: Skira, 2008.", "page_number": "Reproduced: p. 104, fig. 8", "url": null}, {"citation": "Lucy, Martha and John House. <em>Renoir in the Barnes Foundation.</em> New Haven: Yale University Press, 2012.", "page_number": "Reproduced: p. 123, fig. 1", "url": null}, {"citation": "Cousinie\u0301, Fre\u0301de\u0301ric. L'Impressionnisme: Du Plein Air au Territoire. Mont-Saint-Aignan: Presses Universitaires de Rouen et du Havre, 2013.", "page_number": "Reproduced: p. 208, fig. 27", "url": null}, {"citation": "Smith, Paul. \u201cC\u00e9zanne\u2019s \u2018Primitive\u2019 Perspective, or the \u2018View from Everywhere.\u2019\u201d <em>Art Bulletin</em> 95, no. 1 (March 2013): 102\u2013119.", "page_number": "Reproduced: p. 104, fig. 1", "url": null}, {"citation": "Girardeau, Ce\u0301cile. \"Pierre-Auguste Renoir au Debut du XX Siecle: Paul Guillanme et la Collection Walter-Guillaume au Musee de l'Orangerie.\" In <em>Ce\u0301zanne - Renoir, Regards Croise\u0301s: Chefs-d\u2019\u0152uvre Des Collections Des Muse\u0301Es de l\u2019Orangerie et d\u2019Orsay, </em>Fondation Pierre Gianadda, 11-16. Martigny, Suisse: Fondation Pierre Gianadda, 2024.", "page_number": "Reproduced: p. 14, fig. 4", "url": ""}, {"citation": "Locke, Nancy. <em>Ce\u0301zanne\u2019s Shadows: Poussin, Chardin, Rubens. </em>University Park, Pennsylvania: The Pennsylvania State University Press, 2025.", "page_number": "Mentioned and reproduced: p. 127-129, fig. 4", "url": ""}], "url": "https://clevelandart.org/art/1936.19", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1936.19/1936.19_web.jpg", "width": "900", "height": "723", "filesize": "263547", "filename": "1936.19_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1936.19/1936.19_print.jpg", "width": "3400", "height": "2733", "filesize": "4151430", "filename": "1936.19_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1936.19/1936.19_full.tif", "width": "14104", "height": "11338", "filesize": "479765284", "filename": "1936.19_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1936.19/1936.19_alt0_web.jpg", "width": "1109", "height": "893", "filesize": "724391"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1936.19/1936.19_alt0_print.jpg", "width": "3400", "height": "2737", "filesize": "6821032"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1936.19/1936.19_alt0_full.tif", "width": "5470", "height": "4403", "filesize": "72287496"}, "date_created": "2007-10-15T19:06:10", "annotation": ""}], "creditline": "The James W. Corrigan Memorial", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 115405, "creators": [{"id": 1754, "description": "Paul Cezanne (French, 1839\u20131906)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a wealthy banker, C\u00e9zanne began his studies in Aix-en-Provence at the \u00c9cole Saint-Joseph in 1849, then attended the Coll\u00e8ge Bourbon from 1852 until 1858. \u00c9mile Zola, the future author, was to become one of his closest friends. C\u00e9zanne enrolled at the \u00c9cole Gratuite de Dessin in 1857, entering the studio of Joseph Gibert (1806-1884). Two years later, complying with his father's wishes, he began studying law at the Universit\u00e9 d'Aix while still at the \u00c9cole Gratuite de Dessin. In 1861 C\u00e9zanne finally left law school and followed Zola to Paris where he met Pissarro (q.v.) at the Acad\u00e9mie Suisse. Probably after his failure to enter the \u00c9cole des Beaux-Arts, he returned to Aix and began working at his father's bank. In 1862, however, C\u00e9zanne returned to Paris, where he studied at the Acad\u00e9mie Suisse and copied the works of the Old Masters in the Louvre. The works he produced during this period reflect the influence of Spanish painters such as Ribera (1591-1562) and Zurbar\u00e1n (1598-1664), and other predecessors such as Delacroix (q.v.). His submissions to the Salons of 1865 through 1870 (and even through 1881) did not receive the jury's approval; the reinstatement of the Salon des Refus\u00e9s was repeatedly but unsuccessfully demanded. C\u00e9zanne traveled often between Aix and Paris until 1870. To escape the Franco-Prussian War (1870-71) he stayed in the south in L'Estaque, along with his mistress, Hortense Fiquet, whom he had met in 1869. C\u00e9zanne moved back north to Pontoise with Hortense and his son, Paul, in 1872 and worked with Pissarro and met Dr. Paul Gachet. The following year he moved again to nearby Auvers-sur-Oise with his family, continuing his work with Pissarro. In 1874 and 1877 C\u00e9zanne participated in the first and third impressionist exhibitions, but the severe criticism of his works led him to abstain from using this venue again. In 1878 his father learned of the existence of Hortense and Paul, who at that point were living in Marseille, and threatened to discontinue his allowance. While in the Midi, C\u00e9zanne often worked with Monticelli (q.v.). His art increasingly matured, and he began concentrating on the order and internal structure within his compositions, limiting his palette. During these years he also met Gauguin (q.v.) and Renoir (q.v.), and always trav-eled, chiefly between Aix and L'Estaque. In 1886 C\u00e9zanne married Hortense, his father died, and the inheritance provided him with the financial means to live without constraints. He bought a house in Marlotte near Fontainebleau in 1892. In 1895 he had his first solo show at the gallery of Ambroise Vollard, who two years later bought all the artist's works from his studio near Corbeil. The dealer Paul Durand-Ruel became another important client. C\u00e9zanne participated in the Salon des Ind\u00e9pendants in 1899, 1901, and 1902 and exhibited at La Libre Esth\u00e9tique in Brussels in 1901 and 1904, the Secession in Vienna in 1903, and the Salon d'Automne in 1904-6. He continued to study the underlying structure of nature, at times approaching abstraction by denying traditional perspective and using multiple viewpoints. He also began leaving portions of the canvas bare, giving some works an unfinished appearance. C\u00e9zanne's work had a tremendous influence on the artists of his time as well as those of subsequent generations, and he is considered one of the most influential figures in the development of modern art.", "name_in_original_language": null, "birth_year": "1839", "death_year": "1906", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1936-01-03T00:00:00", "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": "2026-05-29 06:02:16.738000"}, {"id": 143278, "accession_number": "1967.215", "share_license_status": "CC0", "tombstone": "Composition with Red, Yellow, and Blue, 1927. Piet Mondrian (Dutch, 1872\u20131944). Oil on canvas; framed: 62.2 x 62.6 x 10.8 cm (24 1/2 x 24 5/8 x 4 1/4 in.); unframed: 49.5 x 49.5 cm (19 1/2 x 19 1/2 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1967.215", "current_location": "223 20th Century Avant-Garde", "title": "Composition with Red, Yellow, and Blue", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 62.2 x 62.6 x 10.8 cm (24 1/2 x 24 5/8 x 4 1/4 in.); Unframed: 49.5 x 49.5 cm (19 1/2 x 19 1/2 in.)", "dimensions": {"framed": {"height": 0.622, "height_inch": 24, "height_inch_fraction": 0.5, "width": 0.626, "width_inch": 24, "width_inch_fraction": 0.625, "depth": 0.108, "depth_inch": 4, "depth_inch_fraction": 0.25}, "unframed": {"height": 0.495, "height_inch": 19, "height_inch_fraction": 0.5, "width": 0.495, "width_inch": 19, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower center:  P M '27", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301285, "title": "Year in Review for 1968", "description": "<i>Year in Review for 1968</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 29-March 9, 1969).", "opening_date": "1969-01-29T05:00:00"}, {"id": 445443, "title": "Mondrian Retrospective", "description": "<i>Mondrian Retrospective</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (October 7-December 12, 1971); Kunstmuseum Bern, Bern, Switzerland (January 26-March 26, 1972).", "opening_date": "1971-10-07T04:00:00"}, {"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": 399403, "title": "L'art aux Pays-Bas au XXeme siecle", "description": "<i>L'art aux Pays-Bas au XXeme siecle</i>. Mus\u00e9e d'Art Moderne de Paris (organizer) (March 23-July 18, 1994).", "opening_date": "1994-03-23T05:00:00"}, {"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": 227264, "title": "Mondrian / De Stijl ", "description": "<i>Mondrian / De Stijl </i>. Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (organizer) (December 1, 2010-March 21, 2011).", "opening_date": "2010-12-01T00:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}, {"id": 361598, "title": "Mondrian and De Stijl", "description": "<i>Mondrian and De Stijl</i>. Museo Nacional Centro de Arte Reina Sof\u00cda, Madrid, Spain (organizer) (November 10, 2020-March 1, 2021) https://www.museoreinasofia.es/exposiciones/mondrian-stijl.", "opening_date": "2020-11-10T05:00:00"}], "legacy": [{"description": "Centre national d'art et de culture Georges Pompidou, Paris, France (12/1/2010 - 3/21/2011): \"Mondrian / De Stijl\"Mondrian\", p. 236.", "opening_date": "2010-12-01T00:00:00"}]}, "provenance": [{"description": "J. J. P. Oud, Wassenaar (1955).  (E. V. Thaw).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The small strip of wood around the outside of the canvas, painted the same gray as the canvas surface, is Mondrian\u2019s original frame for the painting.", "early_education_description": null, "artlens_description": null, "description": "During the 1910s, Piet Mondrian\u2019s art progressed from Cubism to an increasingly abstract style based on the form of a grid. He completely abandoned the representation of natural appearances, limiting himself to horizontal and vertical rectangles and three primary colors (red, yellow, and blue) along with black and white. Intensely intellectual and deeply philosophical, Mondrian believed that following the devastation of World War I, such abstract compositions could contribute to a more harmonious society by communicating in a universal, visual language.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469855"], "internet_archive": ["https://archive.org/details/clevelandart-1967.215-composition-with-red"]}, "citations": [{"citation": "Henning, Edward B. \u201cA Classic Painting by Piet Mondrian.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 55, no. 8 (October 1968): 241\u2013249.", "page_number": "Reproduced: Cover", "url": "http://www.jstor.org/stable/25152228"}, {"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. 198", "url": "https://archive.org/details/CMAHandbook1969/page/n222"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned and reproduced: p. 2", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3"}, {"citation": "Kupka, Frank, Paul Klee, Larry Poons, Richard Hunt, and Edward B. Henning. \u201cA Group of Twentieth-Century Works of Art Recently Acquired.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 57, no. 4 (April 1970): 107\u2013126.", "page_number": "Mentioned and reproduced: p. 106-107, fig. 2", "url": "http://www.jstor.org/stable/25152324"}, {"citation": "Henning, Edward B. \u201cPablo Picasso: Bouteille, Verre, et Fourchette.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 59, no. 7 (September 1972): 195\u2013203.", "page_number": "Mentioned and reproduced: p. 199-201, fig. 14", "url": "http://www.jstor.org/stable/25152438"}, {"citation": "Henning, Edward B. \u201cPlanes, Structure, Color, and Content.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 7 (September 1974): 223\u2013239.", "page_number": "Mentioned and reproduced: p . 230-231, fig. 15", "url": "http://www.jstor.org/stable/25152534"}, {"citation": "Diller, Burgoyne, Leon Polk Smith, and Edward B. Henning. \u201cTwo New Paintings in the Neo-Plastic Tradition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 4 (April 1975): 106\u2013119.", "page_number": "Mentioned and reproduced: p. 106-107, fig. 1", "url": "http://www.jstor.org/stable/25152584"}, {"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. 249", "url": "https://archive.org/details/CMAHandbook1978/page/n269"}, {"citation": "Hinson, Tom E. \u201cRecent Paintings by Richard Diebenkorn and Jack Tworkov.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 2 (February 1980): 31\u201340.", "page_number": "Mentioned and reproduced: p. 34", "url": "http://www.jstor.org/stable/25159661"}, {"citation": "Hinson, Tom E. \u201cEight New Photographs.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 51\u201362.", "page_number": "Mentioned and reproduced: p. 57, fig. 8", "url": "http://www.jstor.org/stable/25159712"}, {"citation": "Landau, Ellen G. \u201c\u2018Space and Pictorial Life\u2019 Hans Hofmann\u2019s \u2018Smaragd Red and Germinating Yellow.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 5 (September 1985): 310\u2013322.", "page_number": "Mentioned and reproduced: p. 320, fig. 18", "url": "http://www.jstor.org/stable/25159910"}, {"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. 122, no. 30", "url": ""}, {"citation": "Neet, Jane. \u201cMondrian\u2019s \u2018Chrysanthemum.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 7 (September 1987): 282\u2013303.", "page_number": "Mentioned and reproduced: p. 283, fig. 1", "url": "http://www.jstor.org/stable/25159997"}, {"citation": "Foster, Carter, \"A Drawing by Myron Stout\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 42 no. 02, February 2002", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2002-02/page/n5"}, {"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. 64-65, fig. 12", "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. 300", "url": ""}, {"citation": "Gemeentemuseum ('s-Gravenhage). Mondriaan. 1955.", "page_number": null, "url": null}, {"citation": "Janssen, Hans. <em>Mondrian &amp; De Stijl</em>. Madrid: Museo Nacional Centro de Arte Reina Sofi\u0301a, 2020.", "page_number": "Reproduced: P. 163", "url": ""}, {"citation": "Park, J. P. \"Pastmodern: The Traditions of the Avant-Garde in Early Asian Art.\" <em>Transactions of the Oriental Ceramic Society</em> 87 (February 14, 2023): 43-57.", "page_number": "Mentioned and reproduced: p. 54 (fig. 13)", "url": ""}, {"citation": "Le\u0301al, Brigitte. <em>Mondrian.</em> Paris: Citadelles &amp; Mazenod, 2024.", "page_number": "Reproduced: p. 215, no. 224; Mentioned: p. 212", "url": ""}, {"citation": "Richardson, Margaret. <em>Global Modern Art: Europe, the Americas, Asia, and Africa. </em>New York: Routledge, Taylor &amp; Francis Group, 2026.", "page_number": "Mentioned and reproduced: p. 60-61, fig. 2.4", "url": ""}], "url": "https://clevelandart.org/art/1967.215", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.215/1967.215_web.jpg", "width": "887", "height": "900", "filesize": "230269", "filename": "1967.215_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.215/1967.215_print.jpg", "width": "3352", "height": "3400", "filesize": "2825926", "filename": "1967.215_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.215/1967.215_full.tif", "width": "9856", "height": "9998", "filesize": "295646980", "filename": "1967.215_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1967.215/1967.215_alt0_web.jpg", "width": "894", "height": "893", "filesize": "402726"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.215/1967.215_alt0_print.jpg", "width": "3400", "height": "3398", "filesize": "5153913"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.215/1967.215_alt0_full.tif", "width": "3846", "height": "3844", "filesize": "44381944"}, "date_created": "2005-09-26T19:24:23", "annotation": ""}], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 143278, "creators": [{"id": 3204, "description": "Piet Mondrian (Dutch, 1872\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1872", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-01-12T00:00:00", "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": "2026-05-29 07:21:52.001000"}, {"id": 149388, "accession_number": "1978.45", "share_license_status": "Copyrighted", "tombstone": "Still Life with Biscuits, 1924. Pablo Picasso (Spanish, 1881\u20131973). Oil, sand, other materials on canvas; framed: 119.4 x 138.8 x 10.2 cm (47 x 54 5/8 x 4 in.); unframed: 80.8 x 100.4 cm (31 13/16 x 39 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1978.45. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Still Life with Biscuits", "creation_date": "1924", "creation_date_earliest": 1924, "creation_date_latest": 1924, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain"], "technique": "oil, sand, other materials on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 119.4 x 138.8 x 10.2 cm (47 x 54 5/8 x 4 in.); Unframed: 80.8 x 100.4 cm (31 13/16 x 39 1/2 in.)", "dimensions": {"framed": {"height": 1.194, "height_inch": 47, "height_inch_fraction": 0.0, "width": 1.388, "width_inch": 54, "width_inch_fraction": 0.625, "depth": 0.102, "depth_inch": 4, "depth_inch_fraction": 0.0}, "unframed": {"height": 0.808, "height_inch": 31, "height_inch_fraction": 0.8125, "width": 1.004, "width_inch": 39, "width_inch_fraction": 0.5}}, "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 lower left: \"Picasso / 24 [probably added later]\"", "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": 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"}, {"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": []}, "provenance": [{"description": "Paul Rosenberg [1881-1959], Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(E. V. Thaw, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "-1978", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1978-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso created a wide variety of textures and patterns in this still life. The off-white paint used to represent the biscuits was applied like cake frosting in smooth, thick strokes, probably with a palette knife.", "early_education_description": null, "artlens_description": null, "description": "The white geometric shape in the center of this painting represents a compote (a bowl with a base and stem) upon which three green fruits are arranged. To the right is a plate of long, wafer-thin biscuits that could be <em>langues-de-chat </em>(French for \u201ccats\u2019 tongues\u201d), named for their shape. This painting is among the last of the artist\u2019s forays into the style of Synthetic Cubism in which lively colors and large, geometric shapes were used to depict recognizable objects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473489"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires 1924 Picasso Still Life,\u201d October 2, 1978, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2589"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1978.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 66, no. 1 (January 1979): 3\u201348.", "page_number": "Reproduced: p. 26; Mentioned: p. 46, no. 126", "url": "http://www.jstor.org/stable/25159613"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 46-47, fig. 15, Back Cover", "url": "http://www.jstor.org/stable/25159711"}, {"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. 117, no. 25", "url": ""}, {"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": "Mentioned and reproduced: P. 210-211, no. 82", "url": ""}], "url": "https://clevelandart.org/art/1978.45", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 149388, "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": "1978-08-10T00:00:00", "sortable_date": 1924, "date_added_to_oa": null, "date_text": "1924", "collapse_artists": false, "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": "2026-08-19 20:06:59.479000"}, {"id": 147066, "accession_number": "1972.8", "share_license_status": "Copyrighted", "tombstone": "Bottle, Glass, Fork, 1911\u201312. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 92.4 x 75.9 x 8.3 cm (36 3/8 x 29 7/8 x 3 1/4 in.); unframed: 72 x 52.7 cm (28 3/8 x 20 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1972.8. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Bottle, Glass, Fork", "creation_date": "1911\u201312", "creation_date_earliest": 1911, "creation_date_latest": 1912, "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: 92.4 x 75.9 x 8.3 cm (36 3/8 x 29 7/8 x 3 1/4 in.); Unframed: 72 x 52.7 cm (28 3/8 x 20 3/4 in.)", "dimensions": {"framed": {"height": 0.924, "height_inch": 36, "height_inch_fraction": 0.375, "width": 0.759, "width_inch": 29, "width_inch_fraction": 0.875, "depth": 0.083, "depth_inch": 3, "depth_inch_fraction": 0.25}, "unframed": {"height": 0.72, "height_inch": 28, "height_inch_fraction": 0.375, "width": 0.527, "width_inch": 20, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "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": 360871, "title": "Modern Masters: Manet to Matisse", "description": "<i>Modern Masters: Manet to Matisse</i>. Art Gallery of New South Wales, Sydney, Australia (April 9-May 11, 1975); National Gallery of Victoria, Melbourne, Australia (May 26-June 23, 1975); The Museum of Modern Art, New York, NY (organizer) (August 4-September 1, 1975).", "opening_date": "1975-04-09T04:00:00"}, {"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": 442168, "title": "Picasso", "description": "<i>Picasso</i>. National Gallery of Victoria, Melbourne, Australia (co-organizer) (July 27-September 23, 1984); Art Gallery of New South Wales, Sydney, Australia (October 9-December 2, 1984).", "opening_date": "1984-07-27T04:00:00"}, {"id": 310012, "title": "The Magic of Still Life", "description": "<i>The Magic of Still Life</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1986-February 1, 1987).", "opening_date": "1986-11-04T05:00:00"}, {"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": 441650, "title": "Picasso und Braque: Die Geburt des Kubismus (Picasso & Braque: Pioneering Cubism)", "description": "<i>Picasso und Braque: Die Geburt des Kubismus (Picasso & Braque: Pioneering Cubism)</i>. Kunstmuseum Basel, Basel, Switzerland (organizer) (February 25-June 18, 1990).", "opening_date": "1990-02-25T05:00:00"}, {"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": 222734, "title": "Picasso and Braque: The Cubist Experiment, 1910-12", "description": "<i>Picasso and Braque: The Cubist Experiment, 1910-12</i>. Kimbell Art Museum, Fort Worth, TX (May 29-August 21, 2011); Santa Barbara Museum of Art, Santa Barbara, CA (organizer) (September 17, 2011-January 9, 2012).", "opening_date": "2011-05-29T00:00:00"}], "legacy": [{"description": "<em>Jasper Johns Numbers</em>. Cleveland Museum of Art, Cleveland, OH (October 26, 2003-January 1, 2004); Los Angeles County Museum of Art, Los Angeles, CA (February 1-April 18, 2004).", "opening_date": "2004-02-01T00:00:00"}]}, "provenance": [{"description": "(Kahnweiler, Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Carlo Frua de Angeli [1895-1969] Milan, Italy", "citations": [], "footnotes": [], "date": "1959", "sortorder": 2}, {"description": "(Galerie Beyerler, Basel, Switzerland, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Just before the First World War, Pablo Picasso and Georges Braque invented a radically new kind of painting that dispensed almost completely with visual resemblance to the world, substituting an intellectual method of abstraction that challenged every convention and created a revolutionary conception of space, even a redefinition of reality in art.", "early_education_description": null, "artlens_description": null, "description": "This still life depicts a variety of objects found on a caf\u00e9 table: a bottle, glass, folded newspaper, and utensils. Intricate in its composition and subtle in palette, this painting exemplifies Analytic Cubism, an artistic style devised by Picasso and Georges Braque between 1908\u201312 characterized by the fragmentary appearance of multiple, simultaneous viewpoints and overlapping planes. Maintaining a connection to the real world, Picasso inserted letters and numbers with personal and political meanings. The \u201cfe 20\u201d could refer to the word \u201ccaf\u00e9\u201d and a street address. \u201cEAN\u201d above [P] ARIS may allude to the newspaper <em>L\u2019Intransigeant </em>founded in 1880 in Paris; but ultimately, the meaning of these fragments remains mysterious and known only to the artist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q4949030"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward B. \u201cPablo Picasso: Bouteille, Verre, et Fourchette.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 59, no. 7 (September 1972): 193\u2013203.", "page_number": "Mentioned and reproduced: p. 193-195, fig. 1, Cover", "url": "http://www.jstor.org/stable/25152438"}, {"citation": "Henning, Edward B. \u201cPicasso: Harlequin with Violin (Si Tu Veux).\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 1 (January 1976): 2\u201311.", "page_number": "Mentioned and reproduced: p. 2-3, fig. 1", "url": "http://www.jstor.org/stable/25152619"}, {"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. 242", "url": "https://archive.org/details/CMAHandbook1978/page/n262"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 38-39, fig. 2", "url": "http://www.jstor.org/stable/25159711"}, {"citation": "Henning, Edward B. \u201cThe Aviator: A Major Painting by Fernand L\u00e9ger.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 3 (March 1982): 87\u201393.", "page_number": "Mentioned and reproduced: p. 86-87, fig. 2", "url": "http://www.jstor.org/stable/25159762"}, {"citation": "Henning, Edward B. \u201cA \u2018Memento Mori\u2019 by Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 8 (October 1988): 320\u2013327.", "page_number": "Mentioned and reproduced: p. 323-324, fig. 5", "url": "http://www.jstor.org/stable/25160045"}, {"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": "Mentioned and reproduced: P. 94-95, no. 25", "url": ""}, {"citation": "Robinson, William H. \"Beyond Cubism.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 48, no. 10 (December 2008): 4-6.", "page_number": "Mentioned and reproduced: p. 6", "url": "https://archive.org/details/CMAMM2008-10/page/4/mode/2up"}, {"citation": "Perl, Jed. <em>Art in America, 1945-1970: Writings from the Age of Abstract Expressionism, Pop Art, and Minimalism</em>. New York, NY : Library of America, 2014.", "page_number": "Reproduced: P. 139", "url": null}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 85", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 113, no. 21", "url": ""}], "url": "https://clevelandart.org/art/1972.8", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147066, "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": "1972-01-12T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911\u201312", "collapse_artists": false, "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": "2026-08-20 12:30:35.078000"}, {"id": 163004, "accession_number": "2003.428", "share_license_status": "Copyrighted", "tombstone": "Composition, 1934. Jean H\u00e9lion (French, 1904\u20131987). Oil on canvas; framed: 131.1 x 163.4 x 3.8 cm (51 5/8 x 64 5/16 x 1 1/2 in.); unframed: 130.8 x 161.9 cm (51 1/2 x 63 3/4 in.). The Cleveland Museum of Art, Gift of Dorothy Tremaine Hildt, 2003.428. \u00a9 Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Composition", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 131.1 x 163.4 x 3.8 cm (51 5/8 x 64 5/16 x 1 1/2 in.); Unframed: 130.8 x 161.9 cm (51 1/2 x 63 3/4 in.)", "dimensions": {"framed": {"height": 1.311, "height_inch": 51, "height_inch_fraction": 0.625, "width": 1.634, "width_inch": 64, "width_inch_fraction": 0.3125, "depth": 0.038, "depth_inch": 1, "depth_inch_fraction": 0.5}, "unframed": {"height": 1.308, "height_inch": 51, "height_inch_fraction": 0.5, "width": 1.619, "width_inch": 63, "width_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 and dated on verso: 1934", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Museum of Modern Art: Painting Toward Architecture, 1948.  Also traveled to: Wadsworth Athenaeum, Hartford Connecticut; Contemporary Art Museum, Houston.", "opening_date": "1948-01-01T00:00:00"}, {"description": "Wadsworth Atheneum, Hartford, CT: The Tremaine Collection:  20th Century Masterpieces, 1984.", "opening_date": "1984-01-01T00:00:00"}]}, "provenance": [{"description": "(Valentine Dudensing Gallery); Miller Company, Meriden, CT, 1945; Mr. and Mrs. Burton G.Tremaine, Meriden, CT; Mrs. Dorothy T. Hildt by descent.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "While fighting for the French army during World War II, Jean H\u00e9lion was taken prisoner and sent to a camp in Pomerania and then Stettin. He escaped and made his way to France and then the United States where he published an account of his experience, <em>They Shall Not Have Me</em>, in 1943.", "early_education_description": null, "artlens_description": null, "description": "In the spring of 1934, Jean H\u00e9lion made a series of four paintings in which, for the first time, he combined several interlocking, abstract forms in a densely organized, allover design. This painting belongs to that series and features a carefully balanced arrangement of forms which appear to be floating free in space in harmony with one another. In Paris, H\u00e9lion shared a studio with Joaqu\u00edn Torres-Garc\u00eda who introduced him to Cubism and abstraction and became acquainted with Piet Mondrian.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60479749"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2003.428", "images": {}, "alternate_images": [], "creditline": "Gift of Dorothy Tremaine Hildt", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 163004, "creators": [{"id": 47211, "description": "Jean H\u00e9lion (French, 1904\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-03-01T00:00:00", "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": "2026-08-14 11:05:39.281000"}, {"id": 135688, "accession_number": "1959.225", "share_license_status": "Copyrighted", "tombstone": "Fox, 1911. Georges Braque (French, 1882\u20131963), published by Daniel-Henry Kahnweiler (German, 1884\u20131979). Etching. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1959.225. \u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Fox", "creation_date": "1911", "creation_date_earliest": 1911, "creation_date_latest": 1911, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {"platemark": {"height": 0.548, "height_inch": 21, "height_inch_fraction": 0.5625, "width": 0.381, "width_inch": 15, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "inscriptions": [], "exhibitions": {"current": [{"id": 301696, "title": "Gifts of The Print Club of Cleveland During its Second Twenty Years (1960)", "description": "<i>Gifts of The Print Club of Cleveland During its Second Twenty Years (1960)</i>. The Cleveland Museum of Art.", "opening_date": "1960-10-11T04:00:00"}, {"id": 304733, "title": "Space and Modern Art", "description": "<i>Space and Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-September 25, 1966).", "opening_date": "1966-06-09T04:00:00"}, {"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": 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": 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": "(R. M. Light and Co., Boston, MA, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "after 1911-1959", "sortorder": 1}, {"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1959", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1959-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was published by Georges Braque's dealer as a means of promoting the artist's avant-garde style.", "early_education_description": null, "artlens_description": null, "description": "Georges Braque worked closely with Pablo Picasso to develop Cubism around the time this print was made. Their work became virtually indistinguishable from each other as they reduced identifiable subject matter to geometric abstraction. Here, Braque presented a still-life featuring a playing card and a bottle of gin. Although Picasso worked extensively in printmaking, Braque made fewer than ten Cubist prints.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80029186"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Vallier 6", "url": "https://clevelandart.org/art/1959.225", "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": 135688, "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}, {"id": 380409, "description": "Daniel-Henry Kahnweiler (German, 1884\u20131979)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "birth_year": "1884", "death_year": "1979", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1959-08-22T00:00:00", "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": "2026-05-20 11:53:11.814000"}, {"id": 325449, "accession_number": "2019.22", "share_license_status": "CC0", "tombstone": "The Steerage, 1907. Alfred Stieglitz (American, 1864\u20131946). Photogravure; image: 32 x 25.7 cm (12 5/8 x 10 1/8 in.); image with black margin: 33.2 x 26.5 cm (13 1/16 x 10 7/16 in.); paper: 40 x 27.9 cm (15 3/4 x 11 in.); mounted: 50.8 x 38 cm (20 x 14 15/16 in.). The Cleveland Museum of Art, Gift of Diann G. Mann and Thomas A. Mann, 2019.22", "current_location": null, "title": "The Steerage", "creation_date": "1907", "creation_date_earliest": 1907, "creation_date_latest": 1907, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 32 x 25.7 cm (12 5/8 x 10 1/8 in.); Image with black margin: 33.2 x 26.5 cm (13 1/16 x 10 7/16 in.); Paper: 40 x 27.9 cm (15 3/4 x 11 in.); Mounted: 50.8 x 38 cm (20 x 14 15/16 in.)", "dimensions": {"image": {"height": 0.32, "height_inch": 12, "height_inch_fraction": 0.625, "width": 0.257, "width_inch": 10, "width_inch_fraction": 0.125}, "paper": {"height": 0.4, "height_inch": 15, "height_inch_fraction": 0.75, "width": 0.279, "width_inch": 11, "width_inch_fraction": 0.0}, "mounted": {"height": 0.508, "height_inch": 20, "height_inch_fraction": 0.0, "width": 0.38, "width_inch": 14, "width_inch_fraction": 0.9375}, "image with black margin": {"height": 0.332, "height_inch": 13, "height_inch_fraction": 0.0625, "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": "Written in pencil on recto of mount in lower left: \u201cThe Steerage-1907/original Photogravure/Alfred Stieglitz (signed)\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Georgia O'Keeffe [1887-1986]", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Delacroix Davis, Jr.", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Ledel Gallery, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Thomas A. and Diann G. Mann, Palm Beach Gardens, FL", "citations": [], "footnotes": null, "date": "1983", "sortorder": 4}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 4, 2019", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print is Alfred Stieglitz\u2019s own, lifelong copy of <em>The Steerage</em>, one of his most important works.", "early_education_description": null, "artlens_description": null, "description": "With his camera, Stieglitz transformed a scene of impoverished immigrants returning to Europe into a study in shape and form; the image sparked his evolution from a pictorialist into a modernist. Reflecting on his career in 1942, Stieglitz proclaimed this image<em>,</em> taken in 1907, as an achievement of modern art that anticipated Cubism.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875963"], "internet_archive": ["https://archive.org/details/clevelandart-2019.22-the-steerage"]}, "citations": [{"citation": "Alfred Stieglitz, <em>Camera Work</em>, New York.", "page_number": "No. 36, October 1911, pl. IX", "url": null}, {"citation": "Newhall, Beaumont. The History of Photography: From 1839 to the Present Day. New York: Museum of Modern Art, 1964.", "page_number": "p. 112", "url": null}, {"citation": "Norman, Dorothy, and Alfred Stieglitz. Alfred Stieglitz: An American Seer. 1973.", "page_number": "p. 65", "url": null}, {"citation": "Frank, Waldo David, Lewis Mumford, Dorothy Norman, Paul Rosenfeld, and Harold Ordway Rugg. America &amp; Alfred Stieglitz: A Collective Portrait. [Millerton, N.Y.]: Aperture, Inc, 1979.", "page_number": "pl. XXVII-B", "url": null}, {"citation": "Stieglitz, Alfred, Sarah Greenough, and Juan Hamilton. Alfred Stieglitz, Photographs &amp; Writings. [Washington, D.C.]: National Gallery of Art, 1983.", "page_number": "pl. 18", "url": null}, {"citation": "Greenough, Sarah. Modern Art and America: Alfred Stieglitz and His New York Galleries. Washington [D.C.]: National Gallery of Art, 2000.", "page_number": "pl. 30, p. 140", "url": null}, {"citation": "Homer, William Innes, and Catherine Johnson. Stieglitz and the Photo-Secession, 1902. New York: Viking Studio, 2002.", "page_number": "p. 156", "url": null}, {"citation": "National Gallery of Art (U.S.), Sarah Greenough, and Alfred Stieglitz. Alfred Stieglitz: The Key Set : the Alfred Stieglitz Collection of Photographs. Washington, D.C.: National Gallery of Art, 2002.", "page_number": "p. 190-94, cat. no. 310-14", "url": null}, {"citation": "Tannenbaum, Barbara.  \u201cAcquisitions 2019: Photography.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 24-26.", "page_number": "Reproduced and Mentioned: P. 24.", "url": ""}], "url": "https://clevelandart.org/art/2019.22", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_web.jpg", "width": "679", "height": "900", "filesize": "224645", "filename": "2019.22_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_print.jpg", "width": "2566", "height": "3400", "filesize": "1868143", "filename": "2019.22_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_full.tif", "width": "5336", "height": "7070", "filesize": "113208052", "filename": "2019.22_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_alt0_web.jpg", "width": "685", "height": "900", "filesize": "151369"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_alt0_print.jpg", "width": "2586", "height": "3400", "filesize": "1505466"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_alt0_full.tif", "width": "5365", "height": "7055", "filesize": "113578324"}, "date_created": "2019-01-08T14:59:33", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_alt1_web.jpg", "width": "722", "height": "900", "filesize": "139839"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_alt1_print.jpg", "width": "2728", "height": "3400", "filesize": "1003187"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_alt1_full.tif", "width": "5679", "height": "7078", "filesize": "120616688"}, "date_created": "2019-01-08T15:00:56", "annotation": ""}], "creditline": "Gift of Diann G. Mann and Thomas A. Mann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 325449, "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}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1907, "date_added_to_oa": null, "date_text": "1907", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 08:56:30.046000"}, {"id": 141898, "accession_number": "1965.440", "share_license_status": "Copyrighted", "tombstone": "Self-Portrait with Hat, 1919. Karl Schmidt-Rottluff (German, 1884\u20131976). Oil on canvas; framed: 84.8 x 76.8 x 6.4 cm (33 3/8 x 30 1/4 x 2 1/2 in.); unframed: 73.3 x 65 cm (28 7/8 x 25 9/16 in.). The Cleveland Museum of Art, Bequest of Dr. William R. Valentiner, 1965.440. \u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "current_location": "225 German Expressionism & Surrealism", "title": "Self-Portrait with Hat", "creation_date": "1919", "creation_date_earliest": 1919, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 84.8 x 76.8 x 6.4 cm (33 3/8 x 30 1/4 x 2 1/2 in.); Unframed: 73.3 x 65 cm (28 7/8 x 25 9/16 in.)", "dimensions": {"framed": {"height": 0.848, "height_inch": 33, "height_inch_fraction": 0.375, "width": 0.768, "width_inch": 30, "width_inch_fraction": 0.25, "depth": 0.064, "depth_inch": 2, "depth_inch_fraction": 0.5}, "unframed": {"height": 0.733, "height_inch": 28, "height_inch_fraction": 0.875, "width": 0.65, "width_inch": 25, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "inscriptions": [{"inscription": "Signed upper left: \"S. Rottluff\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300917, "title": "Golden Anniversary of Acquisitions", "description": "<i>Golden Anniversary of Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-October 16, 1966).", "opening_date": "1966-09-10T04:00:00"}, {"id": 444155, "title": "German and Austrian Expressionism, 1900 - 1920", "description": "<i>German and Austrian Expressionism, 1900 - 1920</i>. Indiana University Art Museum, Bloomington, IN (organizer) (October 23-December 3, 1977).", "opening_date": "1977-10-23T04:00:00"}, {"id": 309658, "title": "Portraiture: The Image of the Individual", "description": "<i>Portraiture: The Image of the Individual</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1983-January 22, 1984).", "opening_date": "1983-11-22T05:00:00"}, {"id": 213354, "title": "Utopia and Alienation: German Art and Expressionsim, 1900-1935", "description": "<i>Utopia and Alienation: German Art and Expressionsim, 1900-1935</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (September 5-December 17, 1999).", "opening_date": "1999-09-05T00:00:00"}, {"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": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": []}, "provenance": [{"description": "Dr. William R. Valentiner [1880\u20131958], New York, NY, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1965", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1965\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "early_education_description": null, "artlens_description": null, "description": "Schmidt-Rottluff painted this powerful self-portrait in Berlin, where he settled after being discharged from the army in World War I. The jarring colors reflect the artist's desire to project his inner, emotional self. The angular, geometric features reveal the influence of Cubism and African wood sculpture. Schmidt-Rottluff was a founding member of Die Br\u00fccke (The Bridge), a group of German Expressionists devoted to establishing a bridge between artists and society.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469494"], "internet_archive": []}, "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. 197", "url": "https://archive.org/details/CMAHandbook1966/page/n221"}, {"citation": "Henning, Edward B. \u201cTwo German Expressionist Paintings.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 55, no. 4 (April 1968): 95\u2013102.", "page_number": "Mentioned and reproduced: p. 95, 97, fig. 2", "url": "http://www.jstor.org/stable/25152208"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1969/page/n221"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969. .", "page_number": "Mentioned and Reproduced: p. 1", "url": "https://archive.org/details/20thCenturyArtCMA/page/n1"}, {"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. 245", "url": "https://archive.org/details/CMAHandbook1978/page/n265"}, {"citation": "Henning, Edward B. \u201cA Late Self-Portrait by Lovis Corinth.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 9 (November 1980): 279\u2013284.", "page_number": "Mentioned and reproduced: p. 283, fig. 6", "url": "http://www.jstor.org/stable/25159696"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 41-43, fig. 10", "url": "http://www.jstor.org/stable/25159711"}, {"citation": "Michaud, Eric. <em>Un art de l'e\u0301ternite\u0301: l'image et le temps du national-socialisme</em>. Paris, France: Gallimard, 1996. .", "page_number": "Reproduced: p. 243, pl. 72", "url": null}, {"citation": "Donley, Greg. \"The New Museum.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 49, no. 5 (May/June 2009): 3-5.", "page_number": "Mentioned and reproduced: p. 4-5.", "url": "https://archive.org/details/CMAMM2009-05/page/2/mode/2up"}, {"citation": "Moeller, Magdalena M., Roman Zieglga\u0308nsberger, Janina Dahlmanns, P. Forster, Christiane Remm, and Roman Zieglga\u0308nsberger. <em>Karl Schmidt-Rottluff Bild und Selbstbild</em>. Mu\u0308nchen, Germany: Hirmer, 2015.", "page_number": "Reproduced: P. 48, abb. 27", "url": null}, {"citation": "Cleveland Museum of Art. Masterworks on Loan: Celebrating the 100th Anniversary of the Cleveland Museum of Art: July Through September 2016. [Cleveland]: Cleveland Museum of Art, 2016.", "page_number": "p. 21-25", "url": null}, {"citation": "Lacis, Indra K. \"Together and Apart: Karl Schmidt-Rottluff's <em>Portrait of Emy</em> and <em>Self-Portrait with Hat</em>.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 5 (September/October 2016): 19.", "page_number": "Reproduced and Mentioned: p. 19", "url": "https://archive.org/details/CMAMM2016-05/page/n9/mode/2up"}], "url": "https://clevelandart.org/art/1965.440", "images": {}, "alternate_images": [], "creditline": "Bequest of Dr. William R. Valentiner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141898, "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": "1965-11-06T00:00:00", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-09-30 11:22:16.277000"}, {"id": 164630, "accession_number": "2006.139", "share_license_status": "CC0", "tombstone": "Night Caf\u00e9, c. 1923. Louis Marcoussis (French, 1883\u20131941). Oil on canvas; framed: 87.3 x 105.7 x 7 cm (34 3/8 x 41 5/8 x 2 3/4 in.); unframed: 70.5 x 88.1 cm (27 3/4 x 34 11/16 in.). The Cleveland Museum of Art, Given in loving memory of W. Chave and Mary Tyler McCracken by their daughters, 2006.139", "current_location": "223 20th Century Avant-Garde", "title": "Night Caf\u00e9", "creation_date": "c. 1923", "creation_date_earliest": 1918, "creation_date_latest": 1928, "artists_tags": ["Jewish artists", "male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 87.3 x 105.7 x 7 cm (34 3/8 x 41 5/8 x 2 3/4 in.); Unframed: 70.5 x 88.1 cm (27 3/4 x 34 11/16 in.)", "dimensions": {"framed": {"height": 0.873, "height_inch": 34, "height_inch_fraction": 0.375, "width": 1.057, "width_inch": 41, "width_inch_fraction": 0.625, "depth": 0.07, "depth_inch": 2, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.705, "height_inch": 27, "height_inch_fraction": 0.75, "width": 0.881, "width_inch": 34, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Betty Parsons Gallery, New York, NY. $850.00", "opening_date": null}]}, "provenance": [{"description": "Frederick Clay Barlett Collection, New York (by 1929); Betty Parsons Gallery, New York; Carroll-Knight Gallery, St. Louis; Rev. W. Chave McCracken, Cleveland Heights, Ohio (acquired in 1948); Adelaide McCracken, Bethel Vermont.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The French poet Guillaume Apollinaire urged the artist to change his name to Marcoussis, after a French village south of Paris. The artist was born Louis Casimir Ladislas Markus in Warsaw, Poland, and moved to Paris in 1903.", "early_education_description": null, "artlens_description": null, "description": "Following Cubist principles, this painting depicts a table from multiple perspectives, providing different views of various objects simultaneously. Louis Casimir Ladislas Markus was born in Warsaw, Poland, into a Jewish family that had converted to Catholicism. In 1903, he moved to Paris where he met poet Guillaume Apollinaire and artists Georges Braque and Pablo Picasso. He then began experimenting with Cubism. Also of Polish descent, Apollinaire had changed his own name and urged the artist to change his name to Marcoussis after a French village. The yellow hot air balloon and the French flag glimpsed out of the window pay homage to the artist\u2019s adopted homeland.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480347"], "internet_archive": ["https://archive.org/details/clevelandart-2006.139-night-cafe"]}, "citations": [], "url": "https://clevelandart.org/art/2006.139", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2006.139/2006.139_web.jpg", "width": "1125", "height": "893", "filesize": "813999", "filename": "2006.139_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2006.139/2006.139_print.jpg", "width": "3400", "height": "2699", "filesize": "7084656", "filename": "2006.139_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2006.139/2006.139_full.tif", "width": "5000", "height": "3969", "filesize": "59553140", "filename": "2006.139_full.tif"}}, "alternate_images": [], "creditline": "Given in loving memory of W. Chave and Mary Tyler McCracken by their daughters", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 164630, "creators": [{"id": 34885, "description": "Louis Marcoussis (French, 1883\u20131941)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2006-09-05T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "c. 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": "2026-05-29 08:31:52.108000"}, {"id": 148370, "accession_number": "1975.82", "share_license_status": "Copyrighted", "tombstone": "The Crystal Vase, 1929. Georges Braque (French, 1882\u20131963). Oil on canvas; unframed: 41.2 x 120.5 cm (16 1/4 x 47 7/16 in.). The Cleveland Museum of Art, Gift of Alexandre P. Rosenberg, 1975.82. \u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "The Crystal Vase", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 41.2 x 120.5 cm (16 1/4 x 47 7/16 in.)", "dimensions": {"unframed": {"height": 0.412, "height_inch": 16, "height_inch_fraction": 0.25, "width": 1.205, "width_inch": 47, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "signed lower left:  G Braque / 29", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302170, "title": "Year in Review: 1975", "description": "<i>Year in Review: 1975</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 3-March 7, 1976).", "opening_date": "1976-02-03T05:00:00"}, {"id": 218874, "title": "Georges Braque", "description": "<i>Georges Braque</i>. Mus\u00e9e d'art moderne Andr\u00e9 Malraux, 76600 Le Havre, France (organizer) (March 19-June 21, 1999).", "opening_date": "1999-03-19T00:00:00"}, {"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": 231335, "title": "Georges Braque and the Cubist Still Life, 1928-1945", "description": "<i>Georges Braque and the Cubist Still Life, 1928-1945</i>. Mildred Lane Kemper Art Museum, St. Louis, MO (organizer) (January 25-April 21, 2013); The Phillips Collection, Washington, DC (June 8-September 1, 2013).", "opening_date": "2013-01-25T00:00:00"}, {"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": "Le Havre, France. Mus\u00e9e des Beaux-Arts Andr\u00e9-Malraux \"Georges Braque\" (3/19 - 6/21/99) repr. p. 64.", "opening_date": "1999-06-21T00:00:00"}, {"description": "Cleveland, Ohio: The Cleveland Museum of Art; February 20 - May 29, 2005. \"Masterworks from The Phillips Collection\". Not in exh. cat.", "opening_date": "2005-02-20T00:00:00"}, {"description": "Mildred Lane Kemper Art Museum, Washington University, St. Louis (1/25/2013 - 4/21/2013) and The Phillips Collection, Washington, DC (6/8/2013 - 9/1/2103): \"Georges Braque and the Cubist Still Life,\", p. 123, Plate 5.", "opening_date": "2013-01-25T00:00:00"}]}, "provenance": [{"description": "Paul Rosenberg [1881-1959], Paris and New York, by descent to his son, Alexandre Rosenberg", "citations": [], "footnotes": ["<div><!--block-->In 1928-1929, Braque executed four compositions in preparation for four marble mosaic panels to be installed in the dining room floor of art dealer Paul Rosenberg\u2019s Paris apartment at 21 rue La Bo\u00ebtie.&nbsp; Braque gave the preparatory compositions and the CMA painting to Rosenberg. When Rosenberg sold the apartment in 1949, the marble panels were removed from the floor and made into table tops resting on wrought iron bases, also designed by Braque.&nbsp; The table made after <em>The Crystal Vase </em>was in the Paris collection of Rosenberg\u2019s daughter, Micheline, at the time of Alexandre\u2019s donation of the painting to the Cleveland Museum of Art.&nbsp;</div>"], "date": "1929-probably 1959", "sortorder": 1}, {"description": "Alexandre Rosenberg [1921-1987], New York, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "Probably 1959-1975", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1975-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After meeting in 1907, Braque worked closely with Pablo Picasso to create Cubism, a radically new style concerned with formal abstraction and the reorganization of pictorial space.", "early_education_description": null, "artlens_description": null, "description": "This still life is one of four paintings commissioned from Georges Braque by collector Paul Rosenberg for his home at 21 rue de la Boetie in Paris. Each painting hung on a separate wall of the dining room, and mosaics based on the paintings were inlaid in the floor, creating a remarkably harmonious grouping known as the \"Rosenberg Quartet.\" When Rosenberg sold his apartment in 1949, the paintings were dispersed (another work from the series is at the Phillips Collection, Washington, DC) and the mosaics were converted to tabletops. Crystal Vase is unique among the group for its color scheme\u2014comprising thin washes of muted beiges, grays, and oranges\u2014and for its elegant placement of objects within the challenging elongated rectangular space. The painting combines Braque\u2019s Cubist style of the 1920s with homages to his French forebears Jean-Baptiste Sim\u00e9on Chardin and Paul C\u00e9zanne.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472945"], "internet_archive": []}, "citations": [{"citation": "Braque, Georges. <em>Georges Braque. </em>Lyon: Fage Editions, 2018.", "page_number": "Mentioned and reproduced: P. 42-43", "url": null}, {"citation": "Alexandre Rosenberg, letter to Sherman Lee, Nov. 14, 1975, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Alexandre Rosenberg, letter to Sherman Lee, Nov. 14, 1975, in CMA curatorial file.", "page_number": null, "url": null}, {"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. 48; Mentioned: p. 69, no. 131", "url": "http://www.jstor.org/stable/25152624"}, {"citation": "Henning, Edward B. \u201cTwo Major Paintings by Georges Braque.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 4 (April 1977): 137\u2013141.", "page_number": "Mentioned and reproduced: p. 137, fig. 2", "url": "http://www.jstor.org/stable/25159524"}, {"citation": "Moskowitz, Peta. \u201cThe Crystal Vase.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 4 (April 1977): 147\u2013151.", "page_number": "Mentioned: p. 147-151; Reproduced: p. 147, fig. 1", "url": "http://www.jstor.org/stable/25159526"}, {"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. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 40, fig. 6", "url": "http://www.jstor.org/stable/25159711"}], "url": "https://clevelandart.org/art/1975.82", "images": {}, "alternate_images": [], "creditline": "Gift of Alexandre P. Rosenberg", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148370, "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": "1975-11-29T00:00:00", "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": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:50:52.696000"}, {"id": 166650, "accession_number": "2008.37", "share_license_status": "Copyrighted", "tombstone": "Landscape with Houses and Trees, c. 1914\u201315. Attributed to Alexandra Exter (Polish, 1882\u20131949). Oil on canvas; framed: 99.4 x 75.9 x 8.3 cm (39 1/8 x 29 7/8 x 3 1/4 in.); unframed: 79.7 x 54.5 cm (31 3/8 x 21 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2008.37", "current_location": null, "title": "Landscape with Houses and Trees", "creation_date": "c. 1914\u201315", "creation_date_earliest": 1914, "creation_date_latest": 1915, "artists_tags": ["female"], "culture": ["Russia"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 99.4 x 75.9 x 8.3 cm (39 1/8 x 29 7/8 x 3 1/4 in.); Unframed: 79.7 x 54.5 cm (31 3/8 x 21 7/16 in.)", "dimensions": {"framed": {"height": 0.994, "height_inch": 39, "height_inch_fraction": 0.125, "width": 0.759, "width_inch": 29, "width_inch_fraction": 0.875, "depth": 0.083, "depth_inch": 3, "depth_inch_fraction": 0.25}, "unframed": {"height": 0.797, "height_inch": 31, "height_inch_fraction": 0.375, "width": 0.545, "width_inch": 21, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Purchased from the artist in 1931 by Zalman Zaks, Leningrad-Moscow, Soviet Union.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "By decent to son Moisei Zaks, Soviet Union.", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Moisei Zaks exports the painting upon immigrating to the United States in 1956.", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "By decent in 1996 to nephew Leonid Zaks and Elena Zaks, Ramat Gan, Israel.", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "[Hiedemann Fine Art - Art Brokers International, Richmond, VA, in 2008]", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "Purchased from the above by The Cleveland Museum of Art in 2008.", "citations": [], "footnotes": null, "date": null, "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": ["3.2008"], "did_you_know": "Alexandra Exter was born in Bia\u0142ystok (in present-day Poland) but moved with her family to Kyiv when she two years old. She spent the formative years of her life and career in Ukraine and her work is deeply related to Ukrainian folk traditions and national identity.", "early_education_description": null, "artlens_description": null, "description": "A leading artist of the Russian avant-garde, Alexandra Exter was associated with the Cubo-Futurist, Suprematist, and Constructivist movements. This landscape features a complex interweaving of fragmented, geometric planes intersecting and colliding in a collapsed space. Exter painted this abstract landscape at a crucial time when she was moving beyond Cubism toward a more dynamic style of intense color and energetic movement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480463"], "internet_archive": []}, "citations": [{"citation": "Robinson, William H. \"Beyond Cubism.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 48, no. 10 (December 2008): 4-6.", "page_number": "Mentioned and reproduced: p. 4, Cover", "url": "https://archive.org/details/CMAMM2008-10/page/4/mode/2up"}], "url": "https://clevelandart.org/art/2008.37", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166650, "creators": [{"id": 56852, "description": "Alexandra Exter (Polish, 1882\u20131949)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-06-23T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "c. 1914\u201315", "collapse_artists": false, "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": "2026-08-03 14:25:15.723000"}, {"id": 84489, "accession_number": "2019.258", "share_license_status": "Copyrighted", "tombstone": "View of Paris, c. 1920. Albert Gleizes (French, 1881\u20131953). Graphite and watercolor on wove paper; sheet: 10.9 x 10.1 cm (4 5/16 x 4 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2019.258", "current_location": null, "title": "View of Paris", "creation_date": "c. 1920", "creation_date_earliest": 1915, "creation_date_latest": 1925, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "graphite and watercolor on wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 10.9 x 10.1 cm (4 5/16 x 4 in.)", "dimensions": {"sheet": {"height": 0.109, "height_inch": 4, "height_inch_fraction": 0.3125, "width": 0.101, "width_inch": 4, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed at lower right, in graphite: Gleizes", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Fischer Kiener Galerie, Paris, France)", "citations": [], "footnotes": null, "date": "?", "sortorder": 1}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH", "citations": [], "footnotes": [], "date": "1968-2008", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 2, 2019", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "With the artist Jean Metzinger, Albert Gleizes authored <em>Du Cubisme </em>(1912), the first major book explaining the Cubist movement.", "early_education_description": null, "artlens_description": null, "description": "Albert Gleizes was among the early artists to experiment with Cubism after its invention by Pablo Picasso and Georges Braque. He focused primarily on modern life, such as the urban view seen here. The sheet presents a view across Paris extending into the far distance, punctuated by the Eiffel Tower in the distance and smoke pouring from a factory\u2019s smokestack at left.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q85661437"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2019.258", "images": {}, "alternate_images": [], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 84489, "creators": [{"id": 29683, "description": "Albert Gleizes (French, 1881\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1881", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 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 06:45:34.586000"}, {"id": 148147, "accession_number": "1975.147", "share_license_status": "Copyrighted", "tombstone": "Man with a Guitar, 1915, printed 1929. Pablo Picasso (Spanish, 1881\u20131973), Daniel-Henry Kahnweiler (German, 1884\u20131979). Drypoint and etching. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1975.147. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Man with a Guitar", "creation_date": "1915, printed 1929", "creation_date_earliest": 1915, "creation_date_latest": 1929, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain"], "technique": "drypoint and etching", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "dimensions": {"platemark": {"height": 0.154, "height_inch": 6, "height_inch_fraction": 0.0625, "width": 0.115, "width_inch": 4, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 304408, "title": "Gifts of the Print Club of Cleveland, 1969 - 1979", "description": "<i>Gifts of the Print Club of Cleveland, 1969 - 1979</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4, 1979-January 27, 1980).", "opening_date": "1979-09-04T04:00:00"}, {"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": "(Angus Whyte Gallery, Boston, MA, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1975", "sortorder": 1}, {"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1975", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1975-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was published by Pablo Picasso's dealer as a means of promoting the artist's avant-garde style.", "early_education_description": null, "artlens_description": null, "description": "Pablo Picasso worked closely with Georges Braque to develop Cubism around the time this print was made. Their work became virtually indistinguishable from each other as they reduced identifiable subject matter to geometric abstraction. Here, Braque presented a still-life featuring a playing card and a bottle of gin, and Picasso focused on a guitarist\u2014subjects that they frequently explored. Although Picasso worked extensively in printmaking, Braque made fewer than ten Cubist prints. Both of these works were published by dealers as a means of promoting the artists\u2019 avant-garde style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79928205"], "internet_archive": []}, "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. 48; Mentioned: p. 69, no. 105", "url": "http://www.jstor.org/stable/25152624"}], "catalogue_raisonne": "Geiser I.109.51", "url": "https://clevelandart.org/art/1975.147", "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": 148147, "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}, {"id": 380409, "description": "Daniel-Henry Kahnweiler (German, 1884\u20131979)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "birth_year": "1884", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1975-11-29T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915, printed 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": "2026-08-20 12:30:35.220000"}, {"id": 129903, "accession_number": "1952.33", "share_license_status": "Copyrighted", "tombstone": "Manhattan I (Stone 2), 1951. Lyonel Feininger (American, 1871\u20131956). Lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1952.33. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Manhattan I (Stone 2)", "creation_date": "1951", "creation_date_earliest": 1951, "creation_date_latest": 1951, "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": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed in pencil on bottom right: Lyonel Feininger", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311902, "title": "Work of Lyonel Feininger", "description": "<i>Work of Lyonel Feininger</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 2-December 30, 1951).", "opening_date": "1951-11-02T04:00:00"}, {"id": 301687, "title": "Lyonel Feininger 1871-1956: Prints and Drawings from the Museum Collection", "description": "<i>Lyonel Feininger 1871-1956: Prints and Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 16-March 20, 1960).", "opening_date": "1959-11-05T05:00:00"}, {"id": 301420, "title": "Prints by Lyonel Feininger", "description": "<i>Prints by Lyonel Feininger</i>. The Cleveland Museum of Art, Cleveland, OH (November 22, 1971-January 10, 1972).", "opening_date": "1971-11-22T05:00:00"}, {"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": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1952", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1952-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print is one of a series of works, including paintings, prints, and drawings, in which Lyonel Feininger depicted Manhattan.", "early_education_description": null, "artlens_description": null, "description": "Lyonel Feininger spent much of his life in Europe, where he discovered the Cubism of Pablo Picasso and Georges Braque. The flattened, interlocking geometric planes of these artists\u2019 work (examples of which are on view nearby) deeply influenced the hundreds of prints he made in the following decades. Facing growing persecution from the Nazis, Feininger fled Germany and returned to New York, his birthplace, in 1937. There, he made numerous abstract cityscapes punctuated by skyscrapers. Feininger contrasted fine lines with gradated areas of tone to enhance the impact of the massive central building.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79911501"], "internet_archive": []}, "citations": [{"citation": "Print Club of Cleveland, Lyonel Feininger, Frederick S. Wight, and Leona E. Prasse.ne<u>The Work of Lyol Feininger: Catalogue of an Exhibition.</u> 1951.", "page_number": "Mentioned: p.26, cat. 243", "url": "https://archive.org/details/LyonelFeininger"}], "catalogue_raisonne": "Prasse, L 16", "url": "https://clevelandart.org/art/1952.33", "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": 129903, "creators": [{"id": 3140, "description": "Lyonel Feininger (American, 1871\u20131956)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-02-13T00:00:00", "sortable_date": 1951, "date_added_to_oa": null, "date_text": "1951", "collapse_artists": false, "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 06:49:09.810000"}, {"id": 153749, "accession_number": "1987.50", "share_license_status": "CC0", "tombstone": "Illustration (Typhoon), 1914\u20131915. Edward Alexander Wadsworth (British, 1889\u20131949). Woodcut; sheet: 31.3 x 27.7 cm (12 5/16 x 10 7/8 in.); image: 29 x 25.4 cm (11 7/16 x 10 in.). The Cleveland Museum of Art, John L. Severance Fund, 1987.50", "current_location": null, "title": "Illustration (Typhoon)", "creation_date": "1914\u20131915", "creation_date_earliest": 1914, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Sheet: 31.3 x 27.7 cm (12 5/16 x 10 7/8 in.); Image: 29 x 25.4 cm (11 7/16 x 10 in.)", "dimensions": {"sheet": {"height": 0.313, "height_inch": 12, "height_inch_fraction": 0.3125, "width": 0.277, "width_inch": 10, "width_inch_fraction": 0.875}, "image": {"height": 0.29, "height_inch": 11, "height_inch_fraction": 0.4375, "width": 0.254, "width_inch": 10, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 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"}, {"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"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "early_education_description": null, "artlens_description": null, "description": "From 1913 to 1919, Wadsworth was an exponent of Vorticism, an avant-garde movement in England that, like a vortex or whirling force, drew all the most positive innovative elements of the time into an energetic synthesis. This group of artists, which also included Windham Lewis, David Bomberg, and Christopher Nevinson, developed geometric styles that merged the spatial analysis of Cubism with the preoccupation with dynamic urban motifs and industrial landscapes celebrated by the Italian Futurists. The description of a ship's engine room in Joseph Conrad's novel <em>Typhoon</em> was the motivation for <em>Illustration</em>. The topic was a natural choice for Wadsworth, who was interested in both machinery and the sea.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939966"], "internet_archive": ["https://archive.org/details/clevelandart-1987.50-illustration-typhoon"]}, "citations": [{"citation": "Sims, Lowery Stokes. The persistence of geometry: form, content, and culture in the collection of the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "no. 59, p. 118, color repr. p. 60", "url": null}], "catalogue_raisonne": "Colnaghi 115; Grennwood W/D 18; Adelphi 31; Bradford 21", "url": "https://clevelandart.org/art/1987.50", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.50/1987.50_web.jpg", "width": "755", "height": "893", "filesize": "486445", "filename": "1987.50_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.50/1987.50_print.jpg", "width": "2873", "height": "3400", "filesize": "5326858", "filename": "1987.50_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.50/1987.50_full.tif", "width": "4096", "height": "4847", "filesize": "59596276", "filename": "1987.50_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153749, "creators": [{"id": 27654, "description": "Edward Alexander Wadsworth (British, 1889\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1889", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-06-10T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914\u20131915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 07:56:54.448000"}, {"id": 159824, "accession_number": "1997.141", "share_license_status": "Copyrighted", "tombstone": "New York, 1923. Louis Lozowick (American, 1892\u20131973). Lithograph; sheet: 40.3 x 29 cm (15 7/8 x 11 7/16 in.); platemark: 29 x 22.9 cm (11 7/16 x 9 in.). The Cleveland Museum of Art, John L. Severance Fund, 1997.141. \u00a9 Courtesy of the Estate of Louis Lozowick and Mary Ryan Gallery, NY", "current_location": null, "title": "New York", "creation_date": "1923", "creation_date_earliest": 1923, "creation_date_latest": 1923, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "lithograph", "support_materials": [{"description": "Rives BFK mold-made wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 40.3 x 29 cm (15 7/8 x 11 7/16 in.); Platemark: 29 x 22.9 cm (11 7/16 x 9 in.)", "dimensions": {"sheet": {"height": 0.403, "height_inch": 15, "height_inch_fraction": 0.875, "width": 0.29, "width_inch": 11, "width_inch_fraction": 0.4375}, "platemark": {"height": 0.29, "height_inch": 11, "height_inch_fraction": 0.4375, "width": 0.229, "width_inch": 9, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": "as few as 15 impressions", "copyright": "\u00a9 Courtesy of the Estate of Louis Lozowick and Mary Ryan Gallery, NY", "inscriptions": [{"inscription": "signed and dated lower right below image in graphite \"LOUIS LOZOWICK '23\"; bottom margin in graphite \"New York\" and \"#15\"", "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": 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"}], "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"}, {"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. 65, p. 119, repr. p. 61.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "early_education_description": null, "artlens_description": null, "description": "Lozowick traveled to France, Germany, and Russia in 1919, where he was influenced by Cubism, Futurism, and Constructivism. The result, to quote the artist, was \"a new aesthetic approach to the civilization of today---a new plastic interpretation of the machine age.\" Born in the Ukraine, Lozowick came to the United States as a child and remained fascinated with views of urban America. His ordered, geometric designs reflect the beauty and vitality he found in cities, factories, and machines, stripped of extraneous detail. It was the optimism of the 1920s, the confidence in the progress of a rational society enhanced by the triumphs of science and engineering, that led to the glorification of industrialization. Lozowick wrote in 1927, \"...the artist could...harness the forces of nature by using math and geometry in a very precise manner. In this manner the flowing rhythm of modern America may be gripped and stayed and its synthesis eloquently rendered in the native idiom.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980046"], "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. 60-61, no. 65", "url": ""}, {"citation": "Donley, Gregory M., \"Geometric Means\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 05, May/June 2006", "page_number": "Mentioned & reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2006-05/page/4/"}], "catalogue_raisonne": "Flint 6", "url": "https://clevelandart.org/art/1997.141", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159824, "creators": [{"id": 11547, "description": "Louis Lozowick (American, 1892\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1892", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "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 06:52:06.206000"}, {"id": 155612, "accession_number": "1990.57", "share_license_status": "Copyrighted", "tombstone": "Musicians, 1949. Lill Tschudi (Swiss, 1911\u20132004). Color linoleum cut; sheet: 25.3 x 34.6 cm (9 15/16 x 13 5/8 in.); image: 22 x 31.9 cm (8 11/16 x 12 9/16 in.). The Cleveland Museum of Art, Gift of Dr. Gerard and Phyllis Seltzer in memory of Dr. Eric Von Baeyer, 1990.57", "current_location": null, "title": "Musicians", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["female"], "culture": ["Switzerland"], "technique": "color linoleum cut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Sheet: 25.3 x 34.6 cm (9 15/16 x 13 5/8 in.); Image: 22 x 31.9 cm (8 11/16 x 12 9/16 in.)", "dimensions": {"sheet": {"height": 0.253, "height_inch": 9, "height_inch_fraction": 0.9375, "width": 0.346, "width_inch": 13, "width_inch_fraction": 0.625}, "image": {"height": 0.22, "height_inch": 8, "height_inch_fraction": 0.6875, "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": "Signed, numbered: \"20/50 Lill Tschudi/Musizierende/Hand-druck\"", "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": [{"description": "(Mary Ryan Gallery, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "early_education_description": null, "artlens_description": null, "description": "Tschudi studied printmaking with Claude Flight at the Grosvenor School of Modern Art in London. She organized simplified, geometric designs-adopted from the flattened, fractured space of cubism-into dramatically patterned compositions. Like the other artists trained at the Grosvenor School, Tschudi was fascinated with the speed and motion of machines as well as the energy and rhythms of modern urban life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79943951"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Coppel LT82", "url": "https://clevelandart.org/art/1990.57", "images": {}, "alternate_images": [], "creditline": "Gift of Dr. Gerard and Phyllis Seltzer in memory of Dr. Eric Von Baeyer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155612, "creators": [{"id": 23708, "description": "Lill Tschudi (Swiss, 1911\u20132004)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1911", "death_year": "2004", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-09-06T00:00:00", "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": "20", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-01 06:51:35.865000"}, {"id": 146806, "accession_number": "1972.227", "share_license_status": "CC0", "tombstone": "Rooster (Gallic Cock), 1916 (plaster), cast 1919. Raymond Duchamp-Villon (French, 1876\u20131918). Painted bronze; overall: 43.5 x 36 x 5.5 cm (17 1/8 x 14 3/16 x 2 3/16 in.). The Cleveland Museum of Art, Bequest of Lucia McCurdy McBride, 1972.227", "current_location": null, "title": "Rooster (Gallic Cock)", "creation_date": "1916 (plaster), cast 1919", "creation_date_earliest": 1916, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "painted bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 43.5 x 36 x 5.5 cm (17 1/8 x 14 3/16 x 2 3/16 in.)", "dimensions": {"overall": {"height": 0.435, "height_inch": 17, "height_inch_fraction": 0.125, "width": 0.36, "width_inch": 14, "width_inch_fraction": 0.1875, "depth": 0.055, "depth_inch": 2, "depth_inch_fraction": 0.1875}}, "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": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}], "legacy": []}, "provenance": [{"description": "John Quinn", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Lucia McCurdy McBride", "citations": [], "footnotes": [], "date": "1927    ", "sortorder": null}, {"description": "John Quinn; Lucia McCurdy McBride, 1927", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Before being embraced by artists, the term \"Cubism\" originated from an insult. The same is true of Gallus, a Latin word meaning both \"rooster\" and \"inhabitant of Gaul\" (present-day France). Once used to mock the French, the rooster was reclaimed as a national symbol of triumph, as pictured here.", "early_education_description": null, "artlens_description": null, "description": "A pioneer of Cubist sculpture, Duchamp-Villon carved the original plaster for this bronze relief while serving in the army during World War I. It was intended for the entrance to a temporary theater erected near the front lines, where French soldiers would have recognized the rooster and rising sun as symbols of victory. Duchamp-Villon died during the war, and in 1919, five bronze casts were made from his plaster as a memorial to the artist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60750725"], "internet_archive": ["https://archive.org/details/clevelandart-1972.227-rooster-gallic-cock"]}, "citations": [{"citation": "\u201cAnnual Report for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 6 (June 1973): 171\u2013205.", "page_number": "Mentioned and reproduced: p. 182", "url": "http://www.jstor.org/stable/25152482"}], "url": "https://clevelandart.org/art/1972.227", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.227/1972.227_web.jpg", "width": "741", "height": "893", "filesize": "416135", "filename": "1972.227_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.227/1972.227_print.jpg", "width": "2820", "height": "3400", "filesize": "6574619", "filename": "1972.227_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.227/1972.227_full.tif", "width": "4296", "height": "5180", "filesize": "66798556", "filename": "1972.227_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Lucia McCurdy McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146806, "creators": [{"id": 18963, "description": "Raymond Duchamp-Villon (French, 1876\u20131918)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916 (plaster), cast 1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 07:31:15.550000"}, {"id": 150679, "accession_number": "1982.112", "share_license_status": "Copyrighted", "tombstone": "Vase, c. 1930. France, Art Deco Style, 20th century. Gold-colored metal plated with silver-colored metal and a brown mottled lacquer resembling tortoiseshell; diameter: 27 x 15.9 cm (10 5/8 x 6 1/4 in.). The Cleveland Museum of Art, Gift of Dr. Sara Jane Pearman, 1982.112", "current_location": null, "title": "Vase", "creation_date": "c. 1930", "creation_date_earliest": 1925, "creation_date_latest": 1935, "artists_tags": [], "culture": ["France, Art Deco Style, 20th century"], "technique": "gold-colored metal plated with silver-colored metal and a brown mottled lacquer resembling tortoiseshell", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "Diameter: 27 x 15.9 cm (10 5/8 x 6 1/4 in.)", "dimensions": {"diameter": {"height": 0.27, "height_inch": 10, "height_inch_fraction": 0.625, "width": 0.159, "width_inch": 6, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on side: \"George\"; inscribed on bottom: \"Jacques douau/ edition d'art/ Fabricon Fran\u00e7aise/ made in France.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309644, "title": "The Year in Review for 1982", "description": "<i>The Year in Review for 1982</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 5-February 6, 1983).", "opening_date": "1983-01-05T05:00:00"}, {"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, "early_education_description": null, "artlens_description": null, "description": "The curved neck and bell-shaped lip of this vase resemble the silhouette of plants, such as reeds and lotuses, seen in ancient Egyptian hieroglyphs, art, and architecture. Informed by the geometric shapes seen in Cubism and the Vienna Secession, Art Deco was a prominent style in the 1920s and 1930s. Art Deco drew inspiration from many different cultures, including that of ancient Egypt. The artist who made this vase borrowed very literally from Egyptian antecedents. <br>Other artists were freer in their interpretations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79933242"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \u201cYear in Review for 1982.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 1 (January 1983): 3\u201355.", "page_number": "Reproduced: p. 21; Mentioned: p. 51, no. 25", "url": "http://www.jstor.org/stable/25159799"}], "url": "https://clevelandart.org/art/1982.112", "images": {}, "alternate_images": [], "creditline": "Gift of Dr. Sara Jane Pearman", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150679, "creators": [], "legal_status": "accessioned", "accession_date": "1982-07-19T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 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 06:51:05.958000"}, {"id": 161648, "accession_number": "2000.26", "share_license_status": "Copyrighted", "tombstone": "Skyline, 1928. Arnold R\u00f6nnebeck (American, 1885\u20131947). Lithograph; sheet: 28.8 x 40.3 cm (11 5/16 x 15 7/8 in.); image: 22.5 x 35 cm (8 7/8 x 13 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2000.26", "current_location": null, "title": "Skyline", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 28.8 x 40.3 cm (11 5/16 x 15 7/8 in.); Image: 22.5 x 35 cm (8 7/8 x 13 3/4 in.)", "dimensions": {"sheet": {"height": 0.288, "height_inch": 11, "height_inch_fraction": 0.3125, "width": 0.403, "width_inch": 15, "width_inch_fraction": 0.875}, "image": {"height": 0.225, "height_inch": 8, "height_inch_fraction": 0.875, "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": "signed and dated in graphite, lower right: Arnold R\u00f6nnebeck, 1928; titled in graphite, lower left: Skyline", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "early_education_description": null, "artlens_description": null, "description": "Originally from Germany, R\u00f6nnebeck moved to New York in 1924, where he gravitated to the circle of photographer Alfred Stieglitz (1864\u20131946). Like so many Europeans, R\u00f6nnebeck was struck by the spectacle of New York's transformation into a major urban metropolis. \"My artistic emotion at the 'phantastic' reality of America was beyond all expectations,\" he declared, \"New York is Living Cubism.\" Trained as an architect, R\u00f6nnebeck took many panoramic photographs of Manhattan as preliminary studies for a series of lithographs depicting the city he found so dynamic and intriguing. <em>Skyline</em> captures an alluring view of the city at night, as seen from across the East River and bisected by the Brooklyn Bridge with its lights represented as glowing orbs.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984636"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2000.26", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161648, "creators": [{"id": 38382, "description": "Arnold R\u00f6nnebeck (American, 1885\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1885", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-06-05T00:00:00", "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": ["Manhattan"], "is_highlight": false, "updated_at": "2026-08-03 14:23:46.110000"}, {"id": 163019, "accession_number": "2003.55", "share_license_status": "Copyrighted", "tombstone": "Tan Still Life, c. 1932. Alfred Maurer (American, 1868\u20131932). Gouache ; overall: 25.4 x 37.9 cm (10 x 14 15/16 in.). The Cleveland Museum of Art, Gift of Tommy and Gill LiPuma in loving memory of Josephine LiPuma Kestner, 2003.55", "current_location": null, "title": "Tan Still Life", "creation_date": "c. 1932", "creation_date_earliest": 1927, "creation_date_latest": 1937, "artists_tags": ["male"], "culture": ["America"], "technique": "gouache ", "support_materials": [{"description": "paper board, mounted to thin paper board", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Overall: 25.4 x 37.9 cm (10 x 14 15/16 in.)", "dimensions": {"overall": {"height": 0.254, "height_inch": 10, "height_inch_fraction": 0.0, "width": 0.379, "width_inch": 14, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; March 28 - July 18, 2004. \"Modern American Masters: Highlights from the Gill and Tommy LiPuma Collection\".", "opening_date": "2004-03-28T00:00:00"}]}, "provenance": [{"description": "Hudson Walker; Babcock Galleries, New York; ACA Galleries, New York; Sotheby's New York (sale of December 5, 1996, lot 195).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "early_education_description": null, "artlens_description": null, "description": "During the last years of his life, from about 1927 to 1932, Maurer painted a series of still lifes that contributed significantly to the Cubist revival that swept America in the 1920s. This Cubist design is especially severe\u2014the forms clarified and reduced to a few, distinct shapes isolated in the center of the composition. Forms rarely overlap across the thin painted surface. Decorative stripes, zigzags, and dots further distinguish the individuality of each shape and at the same time add lateral vibrancy to the design. The painting\u2019s lucid structure points toward the reductive simplicity that distinguished American Cubism of the 1930s and contributed to the leaner geometries of the American Abstract Artists, a group founded in New York in 1937. Although Maurer ranks among America\u2019s most inventive and prolific artists, he failed to received significant critical recognition during his lifetime.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79988394"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2003.55", "images": {}, "alternate_images": [], "creditline": "Gift of Tommy and Gill LiPuma in loving memory of Josephine LiPuma Kestner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163019, "creators": [{"id": 45420, "description": "Alfred Maurer (American, 1868\u20131932)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1868", "death_year": "1932", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2003-06-02T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "c. 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 06:52:28.873000"}, {"id": 161707, "accession_number": "2000.70", "share_license_status": "Copyrighted", "tombstone": "Abstract, c. 1938. Sargent Johnson (American, 1888\u20131967). Graphite and charcoal with graphite framing lines; overall: 35.6 x 20 cm (14 x 7 7/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 2000.70", "current_location": null, "title": "Abstract", "creation_date": "c. 1938", "creation_date_earliest": 1933, "creation_date_latest": 1943, "artists_tags": ["male", "Black American Artists"], "culture": ["America"], "technique": "graphite and charcoal with graphite framing lines", "support_materials": [{"description": "white wove paper laid down on board (illustration board)", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Overall: 35.6 x 20 cm (14 x 7 7/8 in.)", "dimensions": {"overall": {"height": 0.356, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.2, "width_inch": 7, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed in graphite lower right", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Evan Tibbs Collection, Washington, DC; Private Collection, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "early_education_description": null, "artlens_description": null, "description": "Sargent Johnson became the most significant African American sculptor of his generation. He was born in Boston but grew up in San Francisco and received his principle training at the California School of Fine Arts. Johnson became nationally prominent through a series of exhibitions developed and supported by the Harmon Foundation, a New York-based organization significant in its promotion of African American artists at a national level in the 1920s and 30s. This drawing is closely related to Johnson's 1938 lithograph <em>White and Black</em>, a work influenced by Cubism featuring a standing African American woman, her head in profile, holding a strand of beads. The drawing is a truncated version of this composition, with the same head in profile and similar forms, including beads and coils, but the figure is less evident and the overall effect is more abstract. This work represents a distinctly African American form of modernism that combines a sophisticated but highly personal adaptation of the cubist language with a treatment of subject meant to convey pride in the artist's own culture and race.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984784"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d October 6, 2000, Cleveland Museum of Art Archives.", "page_number": "Mentioned: p. 2", "url": "https://archive.org/details/cmapr4354"}], "url": "https://clevelandart.org/art/2000.70", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161707, "creators": [{"id": 7888, "description": "Sargent Johnson (American, 1888\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1888", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-09-18T00:00:00", "sortable_date": 1933, "date_added_to_oa": null, "date_text": "c. 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 06:52:20.003000"}, {"id": 715339, "accession_number": "2026.37", "share_license_status": "CC0", "tombstone": "Still Life (Naturaleza muerta), c. 1916. Mar\u00eda Blanchard (Spanish, 1881\u20131932). Oil, sand, and mixed media collage on canvas; 65.8 x 52.4 cm (25 7/8 x 20 5/8 in.). The Cleveland Museum of Art, Partial purchase from the J. H. Wade Fund and partial gift of Mr. and Mrs. Maurice Saltzman, by exchange, 2026.37", "current_location": null, "title": "Still Life", "title_in_original_language": "Naturaleza muerta", "creation_date": "c. 1916", "creation_date_earliest": 1911, "creation_date_latest": 1921, "artists_tags": ["female"], "culture": ["France, Paris"], "technique": "oil, sand, and mixed media collage on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "65.8 x 52.4 cm (25 7/8 x 20 5/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.658, "height_inch": 25, "height_inch_fraction": 0.875, "width": 0.524, "width_inch": 20, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower center M. BLANCHARD", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "signed verso:  M Guti\u00e9rrez Blanchard", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "R.E.A. Wilson, United Kingdom", "citations": [], "footnotes": null, "date": "?-1938", "sortorder": 1}, {"description": "Acquired by the grandfather of previous owner from the above through the intermediation of Alfred Willey", "citations": [], "footnotes": null, "date": "February 1938", "sortorder": 2}, {"description": "(Ben Elwes Fine Art, London)", "citations": [], "footnotes": null, "date": "2026", "sortorder": 3}, {"description": "Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2026", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This work of art, which combines two- and three-dimensional elements, challenges the long-established notion that an artwork should consist of a single medium.", "early_education_description": null, "artlens_description": null, "description": "The Spanish artist Mar\u00eda Blanchard worked in Paris as a Cubist between 1916 and 1919. In <em>Still Life</em>, she portrayed multiple, simultaneous viewpoints in an abstract style based on geometry and flat planes. Although other Cubists used collage elements in their work, Blanchard was unique in her use of three-dimensional elements to create an image that fluctuates between the concrete and the illusionary. During her lifetime, Blanchard was celebrated by her fellow Cubists, and she shared studios with Juan Gris and Diego Riviera, the latter of whom described her as producing Cubism\u2019s \u201cfinest works, apart from our master, Picasso.\u201d", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2026.37", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2026.37/2026.37_web.jpg", "width": "688", "height": "900", "filesize": "334372", "filename": "2026.37_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2026.37/2026.37_print.jpg", "width": "2598", "height": "3400", "filesize": "4936153", "filename": "2026.37_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2026.37/2026.37_full.tif", "width": "7301", "height": "9554", "filesize": "170173444", "filename": "2026.37_full.tif"}}, "alternate_images": [], "creditline": "Partial purchase from the J. H. Wade Fund and partial gift of Mr. and Mrs. Maurice Saltzman, by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 715339, "creators": [{"id": 715332, "description": "Mar\u00eda Blanchard (Spanish, 1881\u20131932)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1881", "death_year": "1932", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2026-09-08T04:00:00Z", "sortable_date": 1911, "date_added_to_oa": 20260923, "date_text": "c. 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": "2026-10-08 11:20:12.210000"}]}